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Author	Topic: You're NOT listening....

Timmer Oscar® Winner	I bought James Newton Howard's DINOSAUR a few month's ago and wasn't really impressed, I played it earlier today and realised what I had been missing. This score is wonderful and I'm now playing it a second time, funnily I was struck by the beauty and subtlety of Snow Falling On Cedars straight off yet Dinosaur didn't really register with me at the time! What scores did YOU rediscover after initially dismissing on first listen? NP : DINOSAUR
posted 09-16-2000 09:30 AM PT (US)

joan hue Oscar® Winner	Hey, Timmer, I too enjoy Dinosaur. In fact, after several months, I still am not tired of the beautiful melody in track 2, The Egg Travels, and his rather Goldsmithian theme in tracks 7 and 8..Across the Desert. I believe his main theme will become a standard like Rudy in trailers. Just got a Rozsa compilation and am rediscovering themes I loved as a kid from King of Kings, El Cid, Ben Hur, etc.
posted 09-16-2000 09:52 AM PT (US)

Marian Schedenig Oscar® Winner	This happened to me with many Goldsmith scores, like Basic Instinct, Total Recall, Lionheart, The Final Conflict. At first, I was very disappointed by them all, but later - the next day in the case of Final Conflict, months later for Basic Instinct - I came to love them.
posted 09-16-2000 11:01 AM PT (US)

Al Oscar® Winner	I think the reason Dinosaur is so well thought of right now (besides that it is terrific) is that it has James Newton Howard FINALLY returning to big, thematic material. His subtle scores were great experiments, but I had been aching for a nice clear Newton Howard theme for a long while. Had this score been composed around the time of Dave and Alive, I think it probably wouldn't have had near the impact. NP: Broughton's "Young Sherlock Holmes"
posted 09-16-2000 11:40 AM PT (US)

Scott Oscar® Winner	Timmer, great thread. Although this has happened to me before, I must say that recently the score that I wasn't too impressed by and now actually love it "Perfect Storm" by James Horner. Jsst last night I heard it again at the olympics, and the theme is great. Now I know about the controversy, by hey, nice music is nice music. Scott
posted 09-16-2000 11:44 AM PT (US)

James Oscar® Winner	This very recently occured with me regarding X-Men. I really, really hated it at first, but now I really, really LOVE it!! Think of more later... James NP - Williams, Olypmic Fanfare
posted 09-16-2000 11:01 PM PT (US)

Shaun Rutherford Oscar® Winner	I appreciate the fact that Kamen's X-Men has EXCELLENT recording quality in the string section (they sound like "70's strings"---think Close Encounters; this is something that is curiously lacking in most of Williams' recordings from the 90s). Shaun
posted 09-17-2000 12:34 AM PT (US)

Graham Watt Oscar® Winner	Yes Timmer, this happens all the time. I would recommend playing ALL new purchases at least four or five times before writing anything off. Just to give you one example, I was seriously underwhelmed by Stepmom (John Williams) at first, finding kind of inconsequential. Well, I persevered, and that score has now yeilded real trasures. Come to think of it, I really must give Thomas Newman's The Green Mile another try. I heard it twice, I think, and found it boring. I'll have another few shots at it, and if it's still boring after that, well, at least I won't be dismissing it unfairly.
posted 09-17-2000 08:42 AM PT (US)

Darth Fart Oscar® Winner	Close Encounters of the 3rd Kind. When I first got it, I tried really hard to like it, but I knew deep inside that it wasn't very good. There are some good tracks but overall very disappointing. 2 years later, I picked the score off my shelf and now I really LOVE this!!!! We are talking TWO years!!!!!!! This is a terrific Williams score.
posted 09-17-2000 09:26 AM PT (US)

Marian Schedenig Oscar® Winner	I once bought Planet of the Apes and Alien on the same day (along with Trek 2 and Fierce Creatures). Both of them got me very annoyed, but I kept playing them because I wanted to like them. I "found" Alien quite soon, only some days later, but POTA gave me a hard time. I started accepting it, but I only admired it after seeing the film. Also, at the same time I fell ill. And I seriously wonder if POTA added a bit to it. (Picture me sitting in front of the inhaler and blasting Alien through the headphones )
posted 09-17-2000 09:44 AM PT (US)

Al Oscar® Winner	Now that I think of it, this happened to me with a James Newton Howard album as well. I bought the Outbreak album a few days after I saw the film on opening weekend, and at first, I didn't get much out of it. There were cool parts, but I couldn't get into it. The score would be doing one thing one second and switch to another idea the next. Around a year later, I had listened to more of JNH's music and suddenly thought to myself (without having heard the Outbreak score in a LONG time) "Wait a sec. That's a great score!" So I put it in, and lo and behold, it was a great score. And still is! The score has some of the most dynamic action writing of the decade, I think. NP: Doyle's "A Little Princess"
posted 09-17-2000 10:14 AM PT (US)

Shaun Rutherford Oscar® Winner	Al, And all the best writing was left off the album. Shaun
posted 09-17-2000 11:06 AM PT (US)

Rang Oscar® Winner	Graham, I had the some reaction when first listening to STEPMOM on CD, which really surprised me because I had thought Williams' score was very good in the film. On CD, it just didn't seem to work very well. How mistaken I was, as I've since come to like it immensely. I consider it to be one of Williams' finest recent scores.
posted 09-17-2000 11:07 AM PT (US)

Al Oscar® Winner	Most of it, sadly, yes. But the last two tracks are splendid pumps of adrenaline.
posted 09-17-2000 11:33 AM PT (US)

John Dunham Oscar® Winner	Indeed, it's shame how much wasn't on Outbreak. Get the complete if you can; it's far better with all the tracks and in film order. NP: Sneakers, Horner
posted 09-17-2000 03:20 PM PT (US)

Timmer Oscar® Winner	Darth Fart brings up an interesting point with his 2 year gap on playing CE3K, our musical taste can change and expand a lot in a couple of years, and of coarse the cicumstances around us, if I could type faster I could give you loads of examples but I'll just give two.... E.T. this score did nothing for me at first when I bought it in 82, my Dad died in the same week and now this score (and recording) still remains the most personal and special score to me. Vaughan Williams, just didn't get it until I went camping in the Mendip Hills and I was the last one up sitting at the dying campfire at 5a.m. in the morning with a thick white mist lying between the hills, and symphony No.3 on the sterio.....hit me like a ton of bricks!, RVW still remains my all time favourite composer. NP : Dinosaur - JNH p.s. Scott, I like Perfect Storm too, shouldn't we keep quiet about this kind of thing?!....y'know...Horner and that!!
posted 09-17-2000 05:38 PM PT (US)

JJH Oscar® Winner	It took me a long time to like Williams' Sabrina score. don't know why. I've been listening to the CD for the last few months and grown to like it the score immensely. Possibly one of Williams' more underrated works.
posted 09-17-2000 05:48 PM PT (US)

Marian Schedenig Oscar® Winner	I hated Goldsmith before I watched Great Train Robbery some years ago. NP: The Wind and the Lion (I don't hate him any more )
posted 09-17-2000 06:03 PM PT (US)

charben Oscar® Winner	Another really good JNH score is Waterworld. Lost of primitive instruments to go with the big orchestral sound. I listen to this one all the time. Too bad the movie was awful. NP: Dinosaur (the Egg Travels) Chris Harben Atlantic Beach, FL
posted 09-17-2000 06:54 PM PT (US)

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