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Beneath the 12-Mile Reef by Bernard Herrmann 22 tracks, run time: 54:06 Jaws (Decca 2000) by John Williams 20 tracks, run time: 53:15 The first by 42-years old Herrmann, the second by 42-years old Williams. While I believe that Herrmann could write Jaws nearly as well as Williams did, I am a bit glad that this did not happen. Williams in a way.... needed to write Jaws. It was a crucial experimental score the echoes of which still can be heard in his scores over 40 years later. It was around this time that he started becoming more powerful than any jedi.

The short version that appeared on the 1988 Summer Olympics CD was the first commercial release of the piece in any form. However, the short version is just an edit of the full version which was originally recorded and included in the leaked recording sessions. The full version was featured in the closing credits for the NBC broadcast, though (the portion that was cut for the short version starts around 2:21 of this video): https://youtu.be/o8KzNM0F0o8?t=141 The longer version that appeared on the 1996 Summon the Heroes CD was the first commercial release of the piece in its full form, albeit a re-recording. Clear as mud, right?

How many rock stars were in the drum circle on this one?

Nothing worse than that kind of dilettante Youtuber twattery but millions it is indeed.

RIP Dr. John Listening to my favorite of his albums, Dr. John’s Gumbo

Reads like an orgasm in Russian.

Anyone else a fan of Danny Elfman's classic MIB scores? I was concerned he wouldn't be back to score the spinoff since it has a new director; I'm glad I was wrong! I got the score early, and so far (like 3 tracks in) I like what I'm hearing! Some nice references to the original scores here and there with a "modern" twist.

Yes and despite all that the overall number of fans represented by Youtube or otherwise still can reasonably be estimated in the millions you twat.

Hehe

I thought the story was nice and simple, the character motivation was good, the action was well-choreographed and something different for a superhero movie. Mangold's filmography is pretty good, overall, with a couple of big award nominees and winners, and for me, The Wolverine and Logan are near the top.

Legion is one of Marvel's best TV series and its a shame it doesn't get the recognition it deserves!

The second movie was awful, agreed - the third movie was the best of the three. They concluded that story in pt 3 -- this one is a new story with mostly new characters, so it's kind of like a reboot, even though it's in the same universe. Kind of like if James Bond ended, but they started a new series called "009" where the only returning characters were M and Q.

And very up-to-date and contemporary. Because 'Goodbye Stranger' was suggested by youtube after I listened to Silver's 'Wham Bam Shang A Lang'.

It's actually better than it has any right being It's not the most "cinematic" movie* but the effort is appreciable. *it's filmed with one of those stupid fucking 3D cameras

I haven't seen it.

Piston's 1930 Flute Sonata (1:49 - 2:25) Returns slightly changed for the end of the movement (4:49 -5:17)

Hubris by John Powell. Better than Ferdinand, better than Solo and better than How To Train Your Dragon: The Hidden World. And you know that I love all of those. Karol

Shipped! USPS scheduled delivery Monday!

https://www.billboard.com/articles/news/movies/8514821/danny-elfman-talks-score-men-in-black-international Certainly suggests Elfman was more than happy to return and do the bulk of the score, with Bacon helping.

First thing I notice on Spotify is he's using the single word track naming again which means he's tried to make it much more of a concept album. 90 seconds in and it's even worse than I thought it might be. Like The Dark Knight with a bit more colour. The film is directed by a producer which suggests to me that they were in the 'we need a marketable name' mindset, and not 'I want a good score' mindset. Should've gotten Powell to do this - his X-Men score is awesome, and everything that this one isn't.

Why not?

I have a soft spot for Gloria. The opening especially is so big and over-the-top it is simply...well...glorious. It is almost a cry for God to take notice. I haven't seen the film so I don't know if it actually serves some dramatic purpose in the context of the mass scene it underscores.

God Almighty did then. Karol

Wow! Somehow this slipped past my radar. Had no idea he was returning. Definitely enjoy the previous scores so I'll be sure to check it out. Thanks for the heads up!

This is a strange forum to be on then. Also Zimmer's score is likely the only decent thing about this movie anyway.

I'm speaking in general for myself - I never listen to it.

I like the Michael Kamen X Man soundtrack.

I remember taping Gloria with a Cassette recorder when the movie played on TV. I was obsessed in finding the Monsignor LP which I never found (along with the Poltergeist LP)

George Gershwin's Rhapsody in Blue. Also, I'm still caught on that finale from Shostakovich's Piano Quintet. I'm sitting at my keyboard thinking, "How the hell did he do that?". This has become the case for many of Shostakovich's works now, and he's easily moved into my top five favourite classical composers.

I remember when Star Wars stopped being a thing - in the late 80's. The Marvel comics run was finished, Kenner stopped selling the toys, George Lucas had vanished from the public eye as a filmmaker, and the notion of a prequel trilogy was a "pie in the sky", "never-gonna-happen" kinda thing....

Probably

Unfortunately the OST does not do justice to the scope of this score, so for me the best compromise between sound quality and presentation is the 93 Anthology release.

I think the piece is helped by a couple of things - first and foremost it is a choral piece. That definitely makes it a selection in many memorial services which have a choral element. It being a modern piece has the clarity and simplicity of a film music cue - a very clearly delineated theme very clearly stated throughout the piece. So it makes it very accessible for any audience. Not saying it is dumb - just easy to grasp as compared to some of classical music which can be quite complex for regular audiences. And it is a memorable theme and at about 6 minutes, just the right length - neither too long nor too short. Also it has the perfect tone - it is linked to a war movie, and it manages the golden trick - it is BOTH elegiac and mournful and solemn but also soaring and uplifting. Which just about makes it perfect for these occasions. This piece is indeed going to stick around forever.

Nov/Dev has more of a 'prestige'/adult sheen. Most movies made for adult audiences are released in Nov/Dec. So that is the appropriate place for Bond - one of the few franchises truly aimed at adults.

His scores are a bit boring on album.

There have been a handful of good X-men scores, but no excellent X-men scores. A shame. Probably won't be remedied by the fold into Disney/Marvel, either.

Corigliano's Gazebo Dances orchestration is really doin' it for me today

I too always found it overtly bombastic, especially the first half. The piece gets a lot better when the secondary thematic idea (the “Et in terra pax ominibus” section) kicks in, with some wonderful contrapuntal writing later on. Overall, it’s a quite heavy handed composition, though.

Anyone else like Horner's CBS News theme?

If another, future composer, quotes it in their score AND we analyse that new score, then I'm sure it will be posted

You're right, I thought A.I. was 2014 but it was in 2015.. Releases like 1941, EOTS, & A.I. certainly paved the way for the future releases and established the pattern we've seen since then.

That one's disappointing in its tameness and felt outdated from the first day it aired. Perhaps it would have been better if they had updated their samples library since the 90s. JW's take on the genre, on the other hand, has quite a timeless quality to it, no doubt partially due to the use of a real orchestra.

Amen

9:45 to 10:19. Some of the most spine-tingling music I've ever experienced, it's incredible that just four instruments are capable of producing that sound. It's so ahead of its time and never fails to move me.

Corn on! The cob! Corn on! The kabob!

Zimmer is a salesguy, he's not unsympathetic but he talks to an unsophisticated audience, an audience that you can wow with perfumed smokescreens. And since he's german and talked repeatedly about the nuisance of fickle german educational standards and the uncompromising rulebook by which the arts are taught i can absolutely see where he's coming from: finally, in La La Land he was freed of just being a catchy pop guy who noodled on his keyboard but a proper artist who mustn't explain the lack of interest in classical form and musical theory. I am not judging that per se, the medium takes crossover talent like Zimmer better than some mad scale genius incapable of being a team player (essential) but it's clear to me that he knows how to walk the very thin line of being Humble Hans and ennobling himself with lofty fluff that insinuates that a simple ostinato is more than it actually is. And the lack of education in our day and age makes it easy to get away with it: a lot of people actually think Zimmer has Beethoven's abilities. There was a big PR event outside of the O2 arena back in Berlin when he did his concert tour and lo and behold, Zimmer is considered a studied professor who actually writes very heady, complicated stuff. And there were music journalists present, unable to make a distinction between symphonic pop/rock piece (or experimental, what have you) and a Boulez piece. It was truly sickening (not Zimmer's fault, of course, but he knew how to play them).

Can't wait!