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"Anderton's Great Escape" aside, it's an album that has really grown on me. I think the scoring from the opening scenes up through Howard's arrest is absolutely first-rate.

The Thick Of It, recommended by the now hated and reviled deserted Guest2. (may his soul rot in hell for all damnation) A hand held, testosterone driven fury of scripted and improvised brilliance. A Yes Minister but as done by an axe wielding a swearing psychopath.With Peter Capaldi in the center as the extremely foulmouthed and vile Malcolm Tucker, in charge of cleaning up the heaps of shit left by incompetent politicians and civil servants. Everyone swears on the show, but he turns it into a fecking artform. (no one can use the F word as well as the Scottish) Very realistic in that is features characters basically in jobs above their level of competence, being asked to do things they really aren't any good at. And then having to deal with the resulting chaos and confusion that erupts and quick fix the situations as well as possible. With Malcolm Tucker as the boss from hell who never...ever lets any mistake slide. I fully believe that's what happens in politics, and I know that it happens in the corporate sector. A maelstrom of satirical brilliance.

Looks like they don't give me any other option than to support this enterprise!

Ooooh good stuff, although Dragonslayer is something I haven't quite gotten into yet. North is a hit and miss with me. Something like Who's Afraid of Virginia Woolf and Streetcar Named Desire work like hot cakes but Spartacus and Dragonslayer do not. From Sanya Shoilevska Henderson's book Alex North, Film Composer. North on DRAGONSLAYER:

We composers are just more manly than most. We recognize that the natural order is in fact for men to be at the center of attention, with women only in the periphery as accessories to certain emotional and physical needs, and we are not subject to the modern feeling that it is right and proper to submit to feminism and pushes for equality. And we're always endowed well above average. Now if you'll excuse me I need to go shine my wife's boots.

Romanes eunt domus.

Same here and, what's worse, there's nothing in HMV. aye, and in my town it's no HMV so...nothing really.

I don't know exactly how much William's Flight to Neverland borrows from Stravinsky's Firebird Suite or how much of it sounds like a temp track, but here's what I learned from reading the score (with pictures): 1) He uses percussion for accents and flairs instead of grooves. With the exception of the pitched percussion instruments which occasionally play melody lines (or the timpani occasionally supporting the bass), the percussion section is used for accents, fills and flair. There are no driving ostinato patterns or drum-set like beats. You know, just simple accents, like a little bit of seasoning on the important rhythmic moments. 2) He maintains a constant "pulse" in the notes. The division of the beat (especially in the 8th notes) is in at least one instrument at pretty much all times. These parts are significantly more interesting than had the harmony just been assigned to whole notes. They are not only more interesting to play but they also keep the rhythmic pulse alive and active. The piece feels much more exciting because there is always a driving energy bubbling beneath it. There are only a few moments of a few measures in length that do not have this 8th note pulse, and their absence is felt. When the pulse is missing, there is a feeling of suspension and it is usually used for a rallentando or just before a big section. 3) He is generous with the accents and fills. The score is littered with percussion accents, suspended cymbals, harp glissandos, woodwind runs and other accents and splashes of motion and color. Scarcely a phrase goes by that doesn’t have an accent or fill at the end of it. The accents and fills serve two very important functions: They gives the listener something to listen to at all times. Even if the melody is taking a breath, there is something else to hold the listener's attention for a few beats before it starts up again.They pull the listener constantly forward into the next phrase or section. This keeps the piece perpetually marching forward which maintains interest but also keeps up the excitement. 4) He keeps the accompaniment complex but in the background. One of the more characteristic aspects of this score is that it’s very busy; there are always a multitude of ideas flying around at all times. The genius behind this is that no matter how busy the overall texture is, I can still hear the theme clearly and distinctly without any confusion. I believe that one of the reasons for this is as simple as dynamic markings. Another is that the melody is put in the stronger registers of the instruments playing it, while the accompaniment instruments are playing in weaker registers. But one thing that does definitely NOT contribute to the separation of melody and accompaniment is having the accompaniment play simple and inconspicuous parts. But this is just what I've observed from my experience in music theory, composition, and consensus with those who have researched the score as much as I have. I'd like to hear additional thoughts (though not necessarily based on solely what I've written). So to you, me making a candid observation equates to moaning? Don't go there. Just... don't. I'm just posting information relevant to the forum topic.