Miz

Lol, it's a film that my three-year-old likes... because it's pitched at his age group! And it's one of Powell's top scores. I love it for it's simplicity and character.

I'm glad Bear is at the point in his career where he can rock out with his mates and let loose on his own free-form concept album and story-in-graphic-novel. Whether I will enjoy the output remains to be seen!

I work in an autism school and I showed my older students the Google tile list of JW movies to show how evidently impressive he is. Of course they had all heard some of his music and could identify a few franchises, even Jaws, but some were impressed that the list went back to 1958! I explained how his long and continuing career was inspirational, and how I almost saw him conduct in London.

And the lack of a well-composed theme means the visuals couldn't match it. The focus on action and technology over character is telling as well. It's a far cry from the hymnal qualities and sublime matching visuals - including important changes of gear in both - that stands as pretty timeless in Band of Brothers.

Yeah, wrong choice of words. Re-recording, I guess.

I count myself a Bear fan, but didn't know any of this... https://bearmccreary.com/my-decade-with-elmer-bernstein-3/ I listened to Kings of the Sun recently in exploration and tribute to this cross-generational composer relationship. Thought it was good, though I don't know if it was Bear's recomposition.

Bear fans, I've just watched Europa Report. Is there much on the album that doesn't appear in the film? Or is it just low-mix, low-key underscore for much of it?

Editing feels a bit too fast to give it the gravitas it deserves. Anyway, I've only popped into this thread to ask... Does Ridley Scott choose a new composer every time because he's frustrated that no composer can ever match his vision? Or does no composer ever want to work with Ridley Scott twice? Or both!?

Lucky Hawaiins!

Great setlist, I think I heard roughly this concert in Birmingham in 2018, before The Last Jedi and Rise of Skywalker. Obvs Throne Room for encore.

When I heard of this, I thought of rewatching Band of Brothers. Now I am doing so, I am loving it*... being so familiar with the score album since age 16, I am getting more nuance from the complete score now. Has there ever been a release? And is the theme from Suite Two actually used in the series? *I can reflect on how far I've come in 20 years, from boy to man... I get to see strong leadership and an all-male environment (I work in an all-woman environment with weak leadership)... and much like my love of The Road, I get to appreciate how well-off I am by watching others' bravery and strife.

For a fan who hasn't watched any animated Star Wars, this all came across as just-about-above-average. And I'm surprising myself saying this after so many tacky leitmotif callbacks throughout Star Wars... but it could've done with more Force theme! Pretty hot on the combat. Can't argue with a lightsaber fight in each and every episode. I liked Morgan's fighting style.

Why did this end? I was enjoying it!

I enjoyed the performance too. Has there ever been film score at the Last Night of The Proms?

I find each of his albums has much generic dramatic filler and familiar flourishes, all of which work well - or very well - on screen, depending the quality of the drama. That said, every year he still writes at least one score with creative melodies, lovely harmonies, rich instrumentation, and occassionally some fun rock-out moments. That's why I am still interested in his scores. Themes from Foundation for Gaal, and from Rings of Power for Galadriel, Valinor, Isildur and Numenor have all been absolute earworms for me this past year.

I don't find Foundation S2 soundtrack any worse than S1. I've fallen in love with Gaal's theme again. Does anyone know of any transcriptions or tutorial videos for this theme?

Do any Andrew Collins fans know why he left Classic FM? I was sad to hear Jonathan Ross presenting instead, he doesn't bring half the charisma or knowledge. And once I realised, Andrew's last show was no longer available to listen again. On top of the move from 5-7pm slot to the 7-9pm slot (swap cooking dinner time for baby bedtime and my own vegging infront of the TV), this show is now as unattractive as it was before Collins came on.

I'm gonna say it, I think CotW is as strong a score as HTTYD... it uses a different palette and instrumentation, but is just as varied, heartfelt, melodic, original, poignant and impactful. And I'm a card-carrying fan of HTTYD, both score and film. Furthermore this score probably is the more accomplished for being from an inferior film, and yet having such comparable quality.

I love how the Fondor became a ship with character, and took on the Star Wars trope of a plucky smaller ship outwitting a large Imperial one... and with such creativity. But that's not what this is about. The subtle ways authoritarianism shifts society (Mothma's daughter), the way these downtrodden heroes have their hands forced, the corners the Empire puts them into, the tragedy of their separation and distrust of each other, the anticipation of how they might unite, the prequel-benefit of knowing that they're going to rise up. It's all delicious. Finally, Star Wars for grown-ups.

Yes, I think the second album might be a bit more entertaining (though darker)... but I look forward to cropping highlights from all 3 albums eventually.

I confess myself disappointed at the musical listening experience of these albums. There are some decent moments but no sustained 'feature' tracks, as the musical approach flits from theme to theme and scene to scene. I love the score overall and think the first album presentation quite enough for me, with the same sort of theme-centric and set-piece tracks that made the Battlestar Galactica albums so appealing.

Any word on the release date for the next album?

Glad I'm not imagining it about Numenor. It's a pretty clear port, and thematically relevant (Argonath was built by Numenoreans), a great choice IMO. I might be imagining it about Sauron and the Stranger!

I just noticed some possible theme links to Shore's work probably spotted by others here. Numenor, my favourite material, seems to borrow its first phrase or two from the scene in FotR as the boat approaches the two statues (the rising motifs before the ring theme). Sauron's theme... is it in the same key, or scale, as the original Mordor theme? I can certainly sing it along and it sounds like it fits, and this Sauron theme seems to pivot around two notes too. The Stranger's theme also pivots around two notes in the same way that Gandalf's original theme does, and one seems to fit the other as counterpoint in a similar way. Intentional?

You know it, Bear! Anyway, I cannot find a thread for the score so I'll say it hear: Rings of Power is a superb score! One of his best albums too (though flagging at the end). I just noticed some possible theme links to Shore's work too, probably spotted by others here. Numenor, my favourite material, seems to borrow its first phrase or two from the scene in FotR as the boat approaches the two statues (the rising motifs before the ring theme). Sauron's theme... is it in the same key, or scale, as the original Mordor theme? I can certainly sing it along and it sounds like it fits, and this Sauron theme seems to pivot around two notes too.