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Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick

Riley KZ
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Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Tuesday, June 28, 2022 (6:12 p.m.) 

So we enter the almost end to this, but also a mistake -- by the time I finally numbered the end ones, my #1 pick was only #2. DAMMIT. Missed a score. And yep, my swapping between two different programs to write and organize this resulted in not posting one of my early picks so we're gonna do that first, THEN the top 20.

--------

BONUS MISTAKE PICK – Blue Planet by George Fenton (was normally placed #185)

This was a very, very last-minute addition and first time listen to my list, which is why it got accidentally removed from my write ups (I had everything in list form on Excel, but wrote the reviews on Word, which is how this, Army of Thieves, Lost in Space, and Rumble got forgotten about and misplaced). Regardless, it was absolutely lovely, just about my favourite Fenton (Planet Earth was close to making the list, too, but the album was pretty bloody long. Same issue with Price’s Our Planet, which had some fantastic music but the damned thing took so long to get through I gave up when writing this list). Anyhoo, if you haven’t heard any of Fenton’s documentary scores, start here – you won’t regret it.

----------

Ok, now on to the main event if those words apply at all to something this superfluous to the world.

#19 - The Hours by Phillip Glass

If you’re not a fan of Glass’ music, I’ll bet you will still like this one – as far as the “mainstream” can apply with Glass, this is as mainstream, or at least “accessible”, as his music can get. Hypnotic and beautiful with a very peculiar, mysterious heart beating at its centre, The Hours is just about a perfect score to write or read to. It’s constantly moving and driving yet relaxing at the same time; a tricky combo to pull off, and one I personally feel Glass often excels at, but many who don’t usually agree to tend to at least admit it applies with The Hours. Plus, unlike some of his scores for thrillers, there’s nothing atonal or creepy to disrupt the melancholy mood. Wonderful stuff.

Best Cue: https://www.youtube.com/watch?v=ZKhrMqvqwAg&list=OLAK5uy_kHZlmwya9f8H-MW5eWzWXOp6kV24IqUg8&index=9

#18 - Cinderella Man by Thomas Newman

This Tommy. When people say Thomas Newman isn’t all that great, THIS Tommy is the one I keep referring to, the T. New’s that was a constant, glorious presence in the 90’s but still dipped into this gorgeous, orchestral well frequently in the 00’s with stuff like Road to Perdition (coming up still) and Cinderella Man. The album is short but very, very sweet, clocking in at under 35 minutes of actual score but containing some of the composer’s most uplifting, gorgeous work, especially when we’re talking about the final two cues (one of which is Shawshan-y goodness to the max, and the other a delightful Celtic romp). I’ve loved this sucker ever since finding it at a Future Shop (remember those?) way back in high school.

Best Cue: https://www.youtube.com/watch?v=RdO9zYBoqJI

#17 - Southland Tales by Moby

This is one that might be considered a stretch by the rules, cause numerous cues (including my very favourite, Memory Gospel) are previously recorded Moby tracks. However….I don’t know which ones for sure are. I don’t know how many of them are. And I love this album and have listened to it more than almost any damn thing else, so I’m just gonna say screw it, no one cares anyway hahaha. Southland Tales is perfect mood music; haunting, ethereal, trippy, often gorgeous, often just plain bizarre. Of all the scores/soundtracks I’ve listened to in my life, I’m betting Southland Tales is in the top 5 for most amount of go throughs, because it works any time, any where. Feeling introspective? Pop this sucker in. Feeling depressed? Here you go. Feeling happy and just wanna mellow/trip out? Boom, Southland time. It’s just goddamn wonderful, and I’ll love Moby forever for it.

Best Cue (and yes I know it’s not part of the original score, but I only learned that like a year ago and love it so much): https://www.youtube.com/watch?v=sSY5HaXxTgI

#16 - The New World by James Horner

When his Romeo and Juliet score finally saw the (illegal) light of day, some complained about how much of the score ripped off themes from New World in particular. Part of the reason I loved that R&J album was specifically because of that reason – any time I can hear something even remotely like The New World, my day is a better one. A gorgeous, sweeping, and highly romantic work that even mixes sound effects of nature and birds to a surprisingly good effect, New World is among my very favourites of Horner’s career. The “Winter Battle” cue is the only time the relaxing, beautiful atmosphere is interrupted – otherwise, this is just stellar “snuggle music” from beginning to end.

Best Cue: https://www.youtube.com/watch?v=TZ6VmiI5ylc&list=PLF58BABF8997A9930&index=1

#15 - The Fountain by Clint Mansell

An exquisite score that might be one of the three most disagreed-with in my top 20, because for some reason I still can’t quite fathom, many do not hear the genius in The Fountain. Frankly, most still don’t see it in the film, either, which was one of the highlights of my theatrical moviegoing life (never before or since have I sat through the entire end credits in a theatre; not because I was waiting for an easter egg or final scene, but because my motor controls could barely function). It’s a beautiful, ambitious, wonderfully messy flick, and Mansell’s collaboration with Aronofsky has never resulted in a better pairing. The primary themes, played out on piano, cello’s, and sometimes synths, are memorable and heart-breaking, leading towards the two finale cues that stun my ass right back into the stone age. If you’ve avoided the score because of some bad reviews (dang it Clem!), please rectify that and checker out.

Best Cue: https://www.youtube.com/watch?v=ADI7AQhj1U8&list=PL46CAACA317EB76FC&index=10

#14 - Gladiator by Hans Zimmer

One of the rare times a super popular album (of, like, any genre) hit me right in the belly immediately on first listen and never wavered from being an all-time favourite. It’s most famous for the Lisa Gerrard-led tracks like Now We Are Free (one of Zimmer’s career best) or the epic, awesome action music that sounds like it could be for a modern thriller set in Russia like The Battle and Barbarian Horde. On repeat listens, though, everything else about the music sings loudly as well; the subtle stuff co-composed by Klaus Badelt is exquisite, and the overall mix of mournful and heroism is outstanding. The “More Music” album is just about the only one of its kind I bought as a kid, and even with stupid dialogue ruining some of the cues, it’s damn great as well. Maybe too “synthy” or rebellious for some people, but I love it.

Best Cue: https://www.youtube.com/watch?v=ghxzLw2wRis

#13 - Gigli by John Powell

First off, Edmund can suck it (love ya buddy). Second off…..WHYYYY? Why does this wonderful, beautiful, relaxing, romantic, adorable-as-all-holy-fuck score not get the credit it deserves? Surely it isn’t because of the hilariously bad movie itself, because absolutely no one here remembers it anyway, and John Powell’s name attached to the music alone should make most go “hmmm better check that sucker out”. Is it those random jazzy cues that stick out like a sore thumb? Sure, they’re not great, but they’re still kinda fun. And the rest of the music (apart from a gloriously anarchistic gospel cue in the end) is as if Tom Petty walked into your living room with a guitar and said “I’m gonna strum you some themes to make your down-there parts tingle”. The primary theme heard deliciously and repeatedly on piano and mostly acoustic guitar is goddamn great, GREAT I SAY, and honestly….that’s all. That’s all I need. If we can be happy going out on a date and only ordering an amazing salmon dish as opposed to steak tartare, then we can mother-fuckin enjoy the simple, delightful pleasures of Powell’s Gigli.

Best Cue: https://www.youtube.com/watch?v=kc_Ql-ooZqI

#12 - The Time Machine by Klaus Badelt

Recently (by writing this – by the time its posted this might’ve happened 23 months ago), I made Ahn listen to this sucker for being so very very wrong on a Matrix 4 bet. And I was pleasantly surprised by the outpouring of positive responses; apparently I’m not the only one who holds this sucker in high esteem, which is a big change of pace since the last damn score mentioned. Time Machine is a huge mishmash of tones; whimsical Christmasy music, tragic drama, ethereal Adieum-esque choral chanting, epic action, fun adventure, and a whole bunch of other weirdness. It shouldn’t work, but dang does it ever. This was among my most expensive CD purchases ever; found it at a Quebec store back in 2002 for 26 bucks, which was literally more than I had at the time and had to borrow some cash from my folks for the rest. So glad I did.

Best Cue: https://www.youtube.com/watch?v=WVJCXVx-J98

#11 - Avatar by James Horner

As with the movie itself, Avatar got plagued with a lot of criticisms of unoriginality. Boo freakin hoo. If a score sounds this majestic and epic and wonderful and gorgeous and exciting and balls deep awesome then I frankly don’t care if the composer copy and pasted every single note from a long-lost Nintendo game from 1984 – I just want more of it. Avatar is a sweeping achievement, and yes, essentially a Greatest Hits of James Horner Compilation. So what? Our greatest ever composer writing in his favourite wheelhouses, and all on one album!!! Fuck YES, and God do I wish we had more of them. The only ding on the original score album is that it inexplicably left off one of Horner’s career-best action cues (Quaritch Down), but otherwise, I give it no dings. Zero dings. Negative dings. Love it.

Best Cue: https://www.youtube.com/watch?v=-kOBwBhuMQg

---------

Coming Up To Conclude This Shit: a whole lot of weird stuff I constantly whine about no one else liking, plus two series that everyone agrees are awesome.


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ArborArcanist
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ArborArcanist
Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Tuesday, June 28, 2022 (8:00 p.m.) 

Gladiator is my favourite of this bunch, though Avatar has my top highlights.


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Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Tuesday, June 28, 2022 (8:00 p.m.) 

Just realized how vanilla that makes me sound…


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AhN
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Re: Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Wednesday, June 29, 2022 (1:39 p.m.) 

> Just realized how vanilla that makes me sound…

Wow what a casual normie! So lame, my favorite score is from this obscure Spanish miniseries you probably haven't heard of.

(Kidding, like what you like)


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Philipp
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Riley KZ
Re: Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Wednesday, June 29, 2022 (2:38 a.m.) 

Very cool with an almost meditative quality, but I guess you have to like it.

> #15 - The Fountain by Clint Mansell

Well written.

> #14 - Gladiator by Hans Zimmer

> One of the rare times a super popular album (of, like, any genre) hit me
> right in the belly immediately on first listen and never wavered from
> being an all-time favourite. It’s most famous for the Lisa Gerrard-led
> tracks like Now We Are Free (one of Zimmer’s career best) or the epic,
> awesome action music that sounds like it could be for a modern thriller
> set in Russia like The Battle and Barbarian Horde. On repeat listens,
> though, everything else about the music sings loudly as well; the subtle
> stuff co-composed by Klaus Badelt is exquisite, and the overall mix of
> mournful and heroism is outstanding. The “More Music” album is just about
> the only one of its kind I bought as a kid, and even with stupid dialogue
> ruining some of the cues, it’s damn great as well. Maybe too “synthy” or
> rebellious for some people, but I love it.

> Best Cue: https://www.youtube.com/watch?v=ghxzLw2wRis

Favorite: Bleeker Street

> #12 - The Time Machine by Klaus Badelt


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JB11sos
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Riley KZ
Re: Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Wednesday, June 29, 2022 (6:55 a.m.) 

Ooh, this is interesting. Without looking back and quantifying it, I felt like there were a number of scores in your first 40-ish that overlapped nicely with my tastes, then since then it's felt like very little overlap, and now suddenly as we near the top you have 5 that would be in my top 100, including a couple that would be near the top. Don't know what accounts for that.

> #18 - Cinderella Man by Thomas Newman

> This Tommy. When people say Thomas Newman isn’t all that great, THIS Tommy
> is the one I keep referring to, the T. New’s that was a constant, glorious
> presence in the 90’s but still dipped into this gorgeous, orchestral well
> frequently in the 00’s with stuff like Road to Perdition (coming up still)
> and Cinderella Man. The album is short but very, very sweet, clocking in
> at under 35 minutes of actual score but containing some of the composer’s
> most uplifting, gorgeous work, especially when we’re talking about the
> final two cues (one of which is Shawshan-y goodness to the max, and the
> other a delightful Celtic romp). I’ve loved this sucker ever since finding
> it at a Future Shop (remember those?) way back in high school.

> Best Cue: https://www.youtube.com/watch?v=RdO9zYBoqJI

After I binged Newman over the past year I'm totally unsure which scores I liked more or less, let alone which were my favorites. I only listened to this one attentively for the first time this year, and I have no idea what I thought of it because all the scores just blended together in a sea of sameness. The thought of going back and listening to everything again to pull out my favorites is daunting.

> #16 - The New World by James Horner

> When his Romeo and Juliet score finally saw the (illegal) light of day,
> some complained about how much of the score ripped off themes from New
> World in particular. Part of the reason I loved that R&J album was
> specifically because of that reason – any time I can hear something even
> remotely like The New World, my day is a better one. A gorgeous, sweeping,
> and highly romantic work that even mixes sound effects of nature and birds
> to a surprisingly good effect, New World is among my very favourites of
> Horner’s career. The “Winter Battle” cue is the only time the relaxing,
> beautiful atmosphere is interrupted – otherwise, this is just stellar
> “snuggle music” from beginning to end.

> Best Cue:
> https://www.youtube.com/watch?v=TZ6VmiI5ylc&list=PLF58BABF8997A9930&index=1

I don't think I can go so far as to call this my favorite Horner score, but it very well might be my favorite to listen to outside of the film.

> #15 - The Fountain by Clint Mansell

> An exquisite score that might be one of the three most disagreed-with in
> my top 20, because for some reason I still can’t quite fathom, many do not
> hear the genius in The Fountain. Frankly, most still don’t see it in the
> film, either, which was one of the highlights of my theatrical moviegoing
> life (never before or since have I sat through the entire end credits in a
> theatre; not because I was waiting for an easter egg or final scene, but
> because my motor controls could barely function). It’s a beautiful,
> ambitious, wonderfully messy flick, and Mansell’s collaboration with
> Aronofsky has never resulted in a better pairing. The primary themes,
> played out on piano, cello’s, and sometimes synths, are memorable and
> heart-breaking, leading towards the two finale cues that stun my ass right
> back into the stone age. If you’ve avoided the score because of some bad
> reviews (dang it Clem!), please rectify that and checker out.

> Best Cue:
> https://www.youtube.com/watch?v=ADI7AQhj1U8&list=PL46CAACA317EB76FC&index=10

Pretty sure I've shared this exact theater-going experience on the board previously...did you copy-paste from my post?

It's in contention for my favorite film ever, as well as one of the most moving experiences I've had with a work of art, period. The music is essential and perfectly matched to the story and visuals. I don't think either score or film will ever get its due.

> #14 - Gladiator by Hans Zimmer

> One of the rare times a super popular album (of, like, any genre) hit me
> right in the belly immediately on first listen and never wavered from
> being an all-time favourite. It’s most famous for the Lisa Gerrard-led
> tracks like Now We Are Free (one of Zimmer’s career best) or the epic,
> awesome action music that sounds like it could be for a modern thriller
> set in Russia like The Battle and Barbarian Horde. On repeat listens,
> though, everything else about the music sings loudly as well; the subtle
> stuff co-composed by Klaus Badelt is exquisite, and the overall mix of
> mournful and heroism is outstanding. The “More Music” album is just about
> the only one of its kind I bought as a kid, and even with stupid dialogue
> ruining some of the cues, it’s damn great as well. Maybe too “synthy” or
> rebellious for some people, but I love it.

> Best Cue: https://www.youtube.com/watch?v=ghxzLw2wRis

I love 'Now We Are Free,' but the two cues that lead up to it deserve more love. I usually listen to them as a trio.

> #12 - The Time Machine by Klaus Badelt

> Recently (by writing this – by the time its posted this might’ve happened
> 23 months ago), I made Ahn listen to this sucker for being so very very
> wrong on a Matrix 4 bet. And I was pleasantly surprised by the outpouring
> of positive responses; apparently I’m not the only one who holds this
> sucker in high esteem, which is a big change of pace since the last damn
> score mentioned. Time Machine is a huge mishmash of tones; whimsical
> Christmasy music, tragic drama, ethereal Adieum-esque choral chanting,
> epic action, fun adventure, and a whole bunch of other weirdness. It
> shouldn’t work, but dang does it ever. This was among my most expensive CD
> purchases ever; found it at a Quebec store back in 2002 for 26 bucks,
> which was literally more than I had at the time and had to borrow some
> cash from my folks for the rest. So glad I did.

> Best Cue: https://www.youtube.com/watch?v=WVJCXVx-J98

It might not be better than The Promise, but I like it more.

> #11 - Avatar by James Horner

> As with the movie itself, Avatar got plagued with a lot of criticisms of
> unoriginality. Boo freakin hoo. If a score sounds this majestic and epic
> and wonderful and gorgeous and exciting and balls deep awesome then I
> frankly don’t care if the composer copy and pasted every single note from
> a long-lost Nintendo game from 1984 – I just want more of it. Avatar is a
> sweeping achievement, and yes, essentially a Greatest Hits of James Horner
> Compilation. So what? Our greatest ever composer writing in his favourite
> wheelhouses, and all on one album!!! Fuck YES, and God do I wish we had
> more of them. The only ding on the original score album is that it
> inexplicably left off one of Horner’s career-best action cues (Quaritch
> Down), but otherwise, I give it no dings. Zero dings. Negative dings. Love
> it.

> Best Cue: https://www.youtube.com/watch?v=-kOBwBhuMQg

Agree!



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JBlough
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Riley KZ
Re: Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Wednesday, June 29, 2022 (6:57 a.m.) 

> This was a very, very last-minute addition and first time listen to my list, which is why it got accidentally removed from my write ups (I had everything in list form on Excel, but wrote the reviews on Word, which is how this, Army of Thieves, Lost in Space, and Rumble got forgotten about and misplaced).

Reason #4005 why I'm glad I do all my work in Google Suite now.

> #19 - The Hours by Phillip Glass

It's been a while since I've heard this. But I can't recall it standing out that far from the pack of other, similar Glass scores (which, granted, still usually gets **** from me).

> #18 - Cinderella Man by Thomas Newman

Eh.

There's the astonishing finale track and then there's everything else on the album.

> #16 - The New World by James Horner

This might have an outside shot at my #16...Horner score.

> #12 - The Time Machine by Klaus Badelt

Aka The Edge 2!



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AhN
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Riley KZ
Re: Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Wednesday, June 29, 2022 (11:40 a.m.) 

> So we enter the almost end to this, but also a mistake -- by the time I
> finally numbered the end ones, my #1 pick was only #2. DAMMIT. Missed a
> score. And yep, my swapping between two different programs to write and
> organize this resulted in not posting one of my early picks so we're gonna
> do that first, THEN the top 20.

> --------

> BONUS MISTAKE PICK – Blue Planet by George Fenton (was normally placed
> #185)

> This was a very, very last-minute addition and first time listen to my
> list, which is why it got accidentally removed from my write ups (I had
> everything in list form on Excel, but wrote the reviews on Word, which is
> how this, Army of Thieves, Lost in Space, and Rumble got forgotten about
> and misplaced). Regardless, it was absolutely lovely, just about my
> favourite Fenton (Planet Earth was close to making the list, too, but the
> album was pretty bloody long. Same issue with Price’s Our Planet, which
> had some fantastic music but the damned thing took so long to get through
> I gave up when writing this list). Anyhoo, if you haven’t heard any of
> Fenton’s documentary scores, start here – you won’t regret it.

This is at least 150 spots too low, but I'm glad you caught your oversight.

> ----------

> Ok, now on to the main event if those words apply at all to something this
> superfluous to the world.

> #19 - The Hours by Phillip Glass

> If you’re not a fan of Glass’ music, I’ll bet you will still like this one
> – as far as the “mainstream” can apply with Glass, this is as mainstream,
> or at least “accessible”, as his music can get. Hypnotic and beautiful
> with a very peculiar, mysterious heart beating at its centre, The Hours is
> just about a perfect score to write or read to. It’s constantly moving and
> driving yet relaxing at the same time; a tricky combo to pull off, and one
> I personally feel Glass often excels at, but many who don’t usually agree
> to tend to at least admit it applies with The Hours. Plus, unlike some of
> his scores for thrillers, there’s nothing atonal or creepy to disrupt the
> melancholy mood. Wonderful stuff.

Yup.

> #18 - Cinderella Man by Thomas Newman

> This Tommy. When people say Thomas Newman isn’t all that great, THIS Tommy
> is the one I keep referring to, the T. New’s that was a constant, glorious
> presence in the 90’s but still dipped into this gorgeous, orchestral well
> frequently in the 00’s with stuff like Road to Perdition (coming up still)
> and Cinderella Man. The album is short but very, very sweet, clocking in
> at under 35 minutes of actual score but containing some of the composer’s
> most uplifting, gorgeous work, especially when we’re talking about the
> final two cues (one of which is Shawshan-y goodness to the max, and the
> other a delightful Celtic romp). I’ve loved this sucker ever since finding
> it at a Future Shop (remember those?) way back in high school.

Damn, I need to relisten apparently.

> #17 - Southland Tales by Moby

> This is one that might be considered a stretch by the rules, cause
> numerous cues (including my very favourite, Memory Gospel) are previously
> recorded Moby tracks. However….I don’t know which ones for sure are. I
> don’t know how many of them are. And I love this album and have listened
> to it more than almost any damn thing else, so I’m just gonna say screw
> it, no one cares anyway hahaha.

I mean, these all seem like very easy things to determine if you wanted to lol.

> #16 - The New World by James Horner

> #15 - The Fountain by Clint Mansell

> An exquisite score that might be one of the three most disagreed-with in
> my top 20, because for some reason I still can’t quite fathom, many do not
> hear the genius in The Fountain. Frankly, most still don’t see it in the
> film, either, which was one of the highlights of my theatrical moviegoing
> life (never before or since have I sat through the entire end credits in a
> theatre; not because I was waiting for an easter egg or final scene, but
> because my motor controls could barely function).

Okay but I have to ask since it was the 2000s: How stoned were you?

> It’s a beautiful,
> ambitious, wonderfully messy flick, and Mansell’s collaboration with
> Aronofsky has never resulted in a better pairing. The primary themes,
> played out on piano, cello’s, and sometimes synths, are memorable and
> heart-breaking, leading towards the two finale cues that stun my ass right
> back into the stone age. If you’ve avoided the score because of some bad
> reviews (dang it Clem!), please rectify that and checker out.

> #14 - Gladiator by Hans Zimmer

Yeah it's good.

> #13 - Gigli by John Powell

> First off, Edmund can suck it (love ya buddy). Second off…..WHYYYY? Why
> does this wonderful, beautiful, relaxing, romantic,
> adorable-as-all-holy-fuck score not get the credit it deserves? Surely it
> isn’t because of the hilariously bad movie itself, because absolutely no
> one here remembers it anyway, and John Powell’s name attached to the music
> alone should make most go “hmmm better check that sucker out”. Is it those
> random jazzy cues that stick out like a sore thumb? Sure, they’re not
> great, but they’re still kinda fun. And the rest of the music (apart from
> a gloriously anarchistic gospel cue in the end) is as if Tom Petty walked
> into your living room with a guitar and said “I’m gonna strum you some
> themes to make your down-there parts tingle”. The primary theme heard
> deliciously and repeatedly on piano and mostly acoustic guitar is goddamn
> great, GREAT I SAY, and honestly….that’s all. That’s all I need. If we can
> be happy going out on a date and only ordering an amazing salmon dish as
> opposed to steak tartare, then we can mother-fuckin enjoy the simple,
> delightful pleasures of Powell’s Gigli.

One of these days I'll actually dig into more 2000s Powell. Maybe I'll skip this one to antagonize you wink

Kidding, I'd only joke about it for a little too long before relenting. Or I just lose another bet.

> #12 - The Time Machine by Klaus Badelt

> Recently (by writing this – by the time its posted this might’ve happened
> 23 months ago), I made Ahn listen to this sucker for being so very very
> wrong on a Matrix 4 bet.

Lucky you, I took an eternity to follow through on said bet, so this is still somewhat timely.

> And I was pleasantly surprised by the outpouring
> of positive responses; apparently I’m not the only one who holds this
> sucker in high esteem, which is a big change of pace since the last damn
> score mentioned. Time Machine is a huge mishmash of tones; whimsical
> Christmasy music, tragic drama, ethereal Adieum-esque choral chanting,
> epic action, fun adventure, and a whole bunch of other weirdness. It
> shouldn’t work, but dang does it ever. This was among my most expensive CD
> purchases ever; found it at a Quebec store back in 2002 for 26 bucks,
> which was literally more than I had at the time and had to borrow some
> cash from my folks for the rest. So glad I did.

Oh dang, what prompted that? Hearing it in the film or just a blind buy?

> #11 - Avatar by James Horner

> As with the movie itself, Avatar got plagued with a lot of criticisms of
> unoriginality. Boo freakin hoo. If a score sounds this majestic and epic
> and wonderful and gorgeous and exciting and balls deep awesome

What's great is that "wonderful and gorgeous" is exactly the kind of thing Horner would want to hear about his music, while "exciting and balls deep awesome" is exactly what Cameron would want to hear.

> then I
> frankly don’t care if the composer copy and pasted every single note from
> a long-lost Nintendo game from 1984 – I just want more of it. Avatar is a
> sweeping achievement, and yes, essentially a Greatest Hits of James Horner
> Compilation. So what? Our greatest ever composer writing in his favourite
> wheelhouses, and all on one album!!! Fuck YES, and God do I wish we had
> more of them.

The problem is it's not all of those other scores he's emulating, and it's not as good.

> The only ding on the original score album is that it
> inexplicably left off one of Horner’s career-best action cues (Quaritch
> Down), but otherwise, I give it no dings. Zero dings. Negative dings. Love
> it.

A ding and a half, but I've complained about it recently so I'll back off haha
> ---------

> Coming Up To Conclude This Shit: a whole lot of weird stuff I constantly
> whine about no one else liking, plus two series that everyone agrees are
> awesome.

Let's see, HTTYD for sure, and I'm going to guess LOTR since no one got mad that you ranked them too low yet.


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Riley KZ
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AhN
Re: Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Wednesday, June 29, 2022 (3:58 p.m.) 

> This is at least 150 spots too low, but I'm glad you caught your
> oversight.

It probably would’ve gone higher if I hadn’t just heard it that day haha.

> Yup.

> Damn, I need to relisten apparently.

> I mean, these all seem like very easy things to determine if you wanted to
> lol.

It wasn’t though! Well, ok, I basically spent five mins on Google and Wikipedia. To be honest I wouldn’t be surprised if none of it is original score but because I love it so much I kinda prefer ignorance.

> Okay but I have to ask since it was the 2000s: How stoned were you?

Actually wasn’t at all! It came out a year before I ever smoked or drank. I mean, don’t get me wrong, when it came out on dvd and blu ray I never watched it sober again 😝

> Yeah it's good.

> One of these days I'll actually dig into more 2000s Powell. Maybe I'll
> skip this one to antagonize you wink

You would, too. And then you’d create a troll account called Gigli Lover just to mess with me even more.

> Kidding, I'd only joke about it for a little too long before relenting. Or
> I just lose another bet.

What was our last one? I think it was that Beck won’t return to Ant Man 3, even though he probably will….I just wanted to play that game with ya again haha, looked forward to all of those reviews.

> Lucky you, I took an eternity to follow through on said bet, so this is
> still somewhat timely.

> Oh dang, what prompted that? Hearing it in the film or just a blind buy?

It was back in the day where I just started getting into film music and would listen to samples on Amazon to find more stuff like the ones I already liked. Still have never seen the movie.

I also think it was because I knew Badelt from a Christian movie called Extreme Days that had one of my fave score cues ever on the album (cause yeah….back in the grade 5-8 years of my life, I also collected Christian rock music. Was a very different time).

> What's great is that 'wonderful and gorgeous' is exactly the kind of thing
> Horner would want to hear about his music, while 'exciting and balls deep
> awesome' is exactly what Cameron would want to hear.

Ha! True.

> The problem is it's not all of those other scores he's emulating, and it's
> not as good.

> A ding and a half, but I've complained about it recently so I'll back off
> haha

Poo on you. Poo I say!

> Let's see, HTTYD for sure, and I'm going to guess LOTR since no one got
> mad that you ranked them too low yet.

Yup.


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AhN
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Re: Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Thursday, June 30, 2022 (4:38 a.m.) 

> It probably would’ve gone higher if I hadn’t just heard it that day haha.

...at least you listened to it

> You would, too. And then you’d create a troll account called Gigli Lover
> just to mess with me even more.

Please, that's a role that only Ben Affleck could play.

> What was our last one? I think it was that Beck won’t return to Ant Man 3,
> even though he probably will….I just wanted to play that game with ya
> again haha, looked forward to all of those reviews.

That might have been it? I don't think we ever declared one though.

> It was back in the day where I just started getting into film music and
> would listen to samples on Amazon to find more stuff like the ones I
> already liked. Still have never seen the movie.

> I also think it was because I knew Badelt from a Christian movie called
> Extreme Days that had one of my fave score cues ever on the album (cause
> yeah….back in the grade 5-8 years of my life, I also collected Christian
> rock music. Was a very different time).

Dare You To Move (into a new genre for music collecting)


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Olivia D.
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Re: Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Wednesday, June 29, 2022 (12:07 p.m.) 

> So we enter the almost end to this, but also a mistake -- by the time I
> finally numbered the end ones, my #1 pick was only #2. DAMMIT. Missed a
> score. And yep, my swapping between two different programs to write and
> organize this resulted in not posting one of my early picks so we're gonna
> do that first, THEN the top 20.

> --------

> BONUS MISTAKE PICK – Blue Planet by George Fenton (was normally placed
> #185)

> This was a very, very last-minute addition and first time listen to my
> list, which is why it got accidentally removed from my write ups (I had
> everything in list form on Excel, but wrote the reviews on Word, which is
> how this, Army of Thieves, Lost in Space, and Rumble got forgotten about
> and misplaced). Regardless, it was absolutely lovely, just about my
> favourite Fenton (Planet Earth was close to making the list, too, but the
> album was pretty bloody long. Same issue with Price’s Our Planet, which
> had some fantastic music but the damned thing took so long to get through
> I gave up when writing this list). Anyhoo, if you haven’t heard any of
> Fenton’s documentary scores, start here – you won’t regret it.

Just listened to this a little while back and its still great, FENTON!

> ----------

> Ok, now on to the main event if those words apply at all to something this
> superfluous to the world.

> #19 - The Hours by Phillip Glass

> If you’re not a fan of Glass’ music, I’ll bet you will still like this one
> – as far as the “mainstream” can apply with Glass, this is as mainstream,
> or at least “accessible”, as his music can get. Hypnotic and beautiful
> with a very peculiar, mysterious heart beating at its centre, The Hours is
> just about a perfect score to write or read to. It’s constantly moving and
> driving yet relaxing at the same time; a tricky combo to pull off, and one
> I personally feel Glass often excels at, but many who don’t usually agree
> to tend to at least admit it applies with The Hours. Plus, unlike some of
> his scores for thrillers, there’s nothing atonal or creepy to disrupt the
> melancholy mood. Wonderful stuff.

> Best Cue:
> https://www.youtube.com/watch?v=ZKhrMqvqwAg&list=OLAK5uy_kHZlmwya9f8H-MW5eWzWXOp6kV24IqUg8&index=9

> #18 - Cinderella Man by Thomas Newman

> This Tommy. When people say Thomas Newman isn’t all that great, THIS Tommy
> is the one I keep referring to, the T. New’s that was a constant, glorious
> presence in the 90’s but still dipped into this gorgeous, orchestral well
> frequently in the 00’s with stuff like Road to Perdition (coming up still)
> and Cinderella Man. The album is short but very, very sweet, clocking in
> at under 35 minutes of actual score but containing some of the composer’s
> most uplifting, gorgeous work, especially when we’re talking about the
> final two cues (one of which is Shawshan-y goodness to the max, and the
> other a delightful Celtic romp). I’ve loved this sucker ever since finding
> it at a Future Shop (remember those?) way back in high school.

> Best Cue: https://www.youtube.com/watch?v=RdO9zYBoqJI

Hmm, I guess I better search for this one and Tom Newman is great!

> #17 - Southland Tales by Moby

> This is one that might be considered a stretch by the rules, cause
> numerous cues (including my very favourite, Memory Gospel) are previously
> recorded Moby tracks. However….I don’t know which ones for sure are. I
> don’t know how many of them are. And I love this album and have listened
> to it more than almost any damn thing else, so I’m just gonna say screw
> it, no one cares anyway hahaha. Southland Tales is perfect mood music;
> haunting, ethereal, trippy, often gorgeous, often just plain bizarre. Of
> all the scores/soundtracks I’ve listened to in my life, I’m betting
> Southland Tales is in the top 5 for most amount of go throughs, because it
> works any time, any where. Feeling introspective? Pop this sucker in.
> Feeling depressed? Here you go. Feeling happy and just wanna mellow/trip
> out? Boom, Southland time. It’s just goddamn wonderful, and I’ll love Moby
> forever for it.

> Best Cue (and yes I know it’s not part of the original score, but I only
> learned that like a year ago and love it so much):
> https://www.youtube.com/watch?v=sSY5HaXxTgI

> #16 - The New World by James Horner

> When his Romeo and Juliet score finally saw the (illegal) light of day,
> some complained about how much of the score ripped off themes from New
> World in particular. Part of the reason I loved that R&J album was
> specifically because of that reason – any time I can hear something even
> remotely like The New World, my day is a better one. A gorgeous, sweeping,
> and highly romantic work that even mixes sound effects of nature and birds
> to a surprisingly good effect, New World is among my very favourites of
> Horner’s career. The “Winter Battle” cue is the only time the relaxing,
> beautiful atmosphere is interrupted – otherwise, this is just stellar
> “snuggle music” from beginning to end.

> Best Cue:
> https://www.youtube.com/watch?v=TZ6VmiI5ylc&list=PLF58BABF8997A9930&index=1

Great score, just wish Terrence Malick hadn't thrown out most of it in the film, in this interview James gives you can feel his frustration of working with the man.

https://www.youtube.com/watch?v=YIY6s-MXJX4

> #15 - The Fountain by Clint Mansell

> An exquisite score that might be one of the three most disagreed-with in
> my top 20, because for some reason I still can’t quite fathom, many do not
> hear the genius in The Fountain. Frankly, most still don’t see it in the
> film, either, which was one of the highlights of my theatrical moviegoing
> life (never before or since have I sat through the entire end credits in a
> theatre; not because I was waiting for an easter egg or final scene, but
> because my motor controls could barely function). It’s a beautiful,
> ambitious, wonderfully messy flick, and Mansell’s collaboration with
> Aronofsky has never resulted in a better pairing. The primary themes,
> played out on piano, cello’s, and sometimes synths, are memorable and
> heart-breaking, leading towards the two finale cues that stun my ass right
> back into the stone age. If you’ve avoided the score because of some bad
> reviews (dang it Clem!), please rectify that and checker out.

> Best Cue:
> https://www.youtube.com/watch?v=ADI7AQhj1U8&list=PL46CAACA317EB76FC&index=10

> #14 - Gladiator by Hans Zimmer

> One of the rare times a super popular album (of, like, any genre) hit me
> right in the belly immediately on first listen and never wavered from
> being an all-time favourite. It’s most famous for the Lisa Gerrard-led
> tracks like Now We Are Free (one of Zimmer’s career best) or the epic,
> awesome action music that sounds like it could be for a modern thriller
> set in Russia like The Battle and Barbarian Horde. On repeat listens,
> though, everything else about the music sings loudly as well; the subtle
> stuff co-composed by Klaus Badelt is exquisite, and the overall mix of
> mournful and heroism is outstanding. The “More Music” album is just about
> the only one of its kind I bought as a kid, and even with stupid dialogue
> ruining some of the cues, it’s damn great as well. Maybe too “synthy” or
> rebellious for some people, but I love it.

> Best Cue: https://www.youtube.com/watch?v=ghxzLw2wRis

I love it too, one my favourite works from Zimmer.

> #13 - Gigli by John Powell

> First off, Edmund can suck it (love ya buddy). Second off…..WHYYYY? Why
> does this wonderful, beautiful, relaxing, romantic,
> adorable-as-all-holy-fuck score not get the credit it deserves? Surely it
> isn’t because of the hilariously bad movie itself, because absolutely no
> one here remembers it anyway, and John Powell’s name attached to the music
> alone should make most go “hmmm better check that sucker out”. Is it those
> random jazzy cues that stick out like a sore thumb? Sure, they’re not
> great, but they’re still kinda fun. And the rest of the music (apart from
> a gloriously anarchistic gospel cue in the end) is as if Tom Petty walked
> into your living room with a guitar and said “I’m gonna strum you some
> themes to make your down-there parts tingle”. The primary theme heard
> deliciously and repeatedly on piano and mostly acoustic guitar is goddamn
> great, GREAT I SAY, and honestly….that’s all. That’s all I need. If we can
> be happy going out on a date and only ordering an amazing salmon dish as
> opposed to steak tartare, then we can mother-fuckin enjoy the simple,
> delightful pleasures of Powell’s Gigli.

> Best Cue: https://www.youtube.com/watch?v=kc_Ql-ooZqI

I actually like it and I'm not kidding, its a fun relaxing score that I can just play and chill out to, "Goodbye" just makes all the stress in me just disappear and I thought I wouldn't like it, because of all the bad stuff I've people say here, but I really like it and "Tai Moi Chai" and "Step Up" are just infectiously positive like Jerry Goldsmith's Hoosiers, great score.

> #12 - The Time Machine by Klaus Badelt

> Recently (by writing this – by the time its posted this might’ve happened
> 23 months ago), I made Ahn listen to this sucker for being so very very
> wrong on a Matrix 4 bet. And I was pleasantly surprised by the outpouring
> of positive responses; apparently I’m not the only one who holds this
> sucker in high esteem, which is a big change of pace since the last damn
> score mentioned. Time Machine is a huge mishmash of tones; whimsical
> Christmasy music, tragic drama, ethereal Adieum-esque choral chanting,
> epic action, fun adventure, and a whole bunch of other weirdness. It
> shouldn’t work, but dang does it ever. This was among my most expensive CD
> purchases ever; found it at a Quebec store back in 2002 for 26 bucks,
> which was literally more than I had at the time and had to borrow some
> cash from my folks for the rest. So glad I did.

> Best Cue: https://www.youtube.com/watch?v=WVJCXVx-J98

Yep, it sure is, love all the nods to Jerry Goldsmith, definitely my favourite Badelt.

> #11 - Avatar by James Horner

> As with the movie itself, Avatar got plagued with a lot of criticisms of
> unoriginality. Boo freakin hoo. If a score sounds this majestic and epic
> and wonderful and gorgeous and exciting and balls deep awesome then I
> frankly don’t care if the composer copy and pasted every single note from
> a long-lost Nintendo game from 1984 – I just want more of it. Avatar is a
> sweeping achievement, and yes, essentially a Greatest Hits of James Horner
> Compilation. So what? Our greatest ever composer writing in his favourite
> wheelhouses, and all on one album!!! Fuck YES, and God do I wish we had
> more of them. The only ding on the original score album is that it
> inexplicably left off one of Horner’s career-best action cues (Quaritch
> Down), but otherwise, I give it no dings. Zero dings. Negative dings. Love
> it.

> Best Cue: https://www.youtube.com/watch?v=-kOBwBhuMQg

My fourth favourite Horner score and probably his smoothest collaboration with Cameron, "The Destruction of Hometree" is so heartbreaking and James' synth work on this score is brilliant, but those voices are what sets it so high for me, I swear, James Horner was the best choral composer film ever had and Avatar is proof of that.

> ---------

> Coming Up To Conclude This Shit: a whole lot of weird stuff I constantly
> whine about no one else liking, plus two series that everyone agrees are
> awesome.



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Edmund Meinerts
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Riley KZ
Re: Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Wednesday, June 29, 2022 (1:44 p.m.) 

> #13 - Gigli by John Powell

It's fine? P.S. I Love You is still much better. I have spoken.


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Riley KZ
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Edmund Meinerts
Re: Top 200 Scores of the Century - #20 - 11 Plus Bonus Pick   Wednesday, June 29, 2022 (3:52 p.m.) 

> It's fine? P.S. I Love You is still much better. I have spoken.

Well I dig that one a lot too, just missed my list really. But maybe someday you’ll be sitting there on a warm autumn day with the leaves blowing around and think “todays a Gigli day” and boom, it’ll click!

And then I’ll fly to Germany or wherever the heck you are now, leap in front of your house, give a big thumbs up, then rub my butt on your lawn and fly back to Canada. Cause why not, at that point.


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