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...or, as it is more commonly known, Vuvuzela.

This is why composers should strive for mediocrity in their scores because it becomes too damn distracting if it's really good.

Probably go for Lair. I was never a huge fan of its less than subtle approach (orchestra and choir belting it out), but with a properly arranged presentation and sound quality, I can see there being some good stuff.

https://www.facebook.com/lalalandrecords/photos/np.256373023.502903435/10152398960378755/

I think the news has run its course, too. It's the same shit every day.

I'm Wojo, not Cremers. I don't have slavish standards of opulence. I like what I like, and answer to no one.

THE LIVING DAYLIGHTS - John Barry Still the most satisfying Barry/Bond on an album (others have better songs but the incidental score often is not that great). It's romantic Barry galore - even cues like "Mujahadin and Opium" have that gloomy romantic feel - with several strong themes playing off each other. Obviously, Barry presented several song-suitable thematic ideas to the producers and when most of them were rejected he decided 'to hell with 'em' and used them anyway. So we have an action theme that's a song (The Pretenders' "Where has everybody Gone"), a song love theme (The Pretender's "If there was a Man") that seems to have been Barry's favourite and a-ha's "Living Daylights" (co-written with Barry) that is used sparingly in the underscore, too. To go with the times there is a rather humdrum 80's beat behind the action scenes, but if you survived Arnold's nerve-wracking basement DJ techno assaults that shouldn't bother you. Top all that with even more sweeping motivic ideas ('The Sniper was a Woman'/'Airbase Jailbreak') in the usual high Barry style (it's hardly new but just so classy) and you have a hell of an expanded EMI album which is just fine with it's 68 minutes.

I like Nyman and Kilar as film composers but haven't heard much of their concert stuff (aside from Exodus). Has anyone mentioned Williams, Ligeti, or Hovhaness yet?

Just watched the finale. It wasn't nearly as bad as people made it out to be. The thing is, nothing much happens. It's mostly just setup for the next season, so it certainly is lacking compared to the other season finales. Having said that, season 4 has, by and large, been the show's strongest season.

Thanks!

Batteries Not Included! London Symphony Orchestra sold separately!

Yes, it is. You should know by now. The Elfman almost always uses a celeste in his scores.

Williams is a reptilian shapeshifter working for Obama's communist regime.

I'd also like some Zimmer, maybe da Vinci or Inception, mostly just to see how it all breaks down between the orchestra, electronics, soloists etc.

I would love all the Williams scores, but as Mr. Shark said, this is out of the question. So, my list with the 5 most wanted scores would be something like this: LEGEND (Goldsmith) CONAN THE BARBARIAN (Poledouris) BATMAN RETURNS (Elfman) WILLOW (Horner) BRAVEHEART (Horner)

Ugh. Talent could not be wasted on worse films!

Drax, you ensuring Hitch is up to date on these things?

Unfortunately, also these are out of question. Unless he changed his mind in the last few years. For the wishlist, excluding Williams and Morricone, I add: Korngold - The Adventures of Robin Hood Rozsa - Ben Hur Some scores by Herrmann like Vertigo and Marnie. Zimmer - Gladiator (yes, I like many parts of this score) Goldsmith - Alien, The Mummy, The River Wild Steiner - Gone with the Wind Jarre - Lawrence of Arabia

What a sweet guy.