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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.

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

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'.

When the album was just released I thought the cover of Breakfast In America was really eye-catching, for some reason. This one too, BTW:

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.

Schrödingers Hook!

It depends!

Let me start off by saying I've been counting the hours until the day this album got released. The Godzilla movie franchise is so full of really brilliant music, and I have the privilege of knowing all of it, and I assume so does Bear McCreary, since the few bits of score that were already out there focused on the Ifukube Godzilla March. So, what could possibly go wrong? Well, let's see ... This is one of these scores that I, and I assume plenty of others, can enjoy because of the personal affection and emotions for the source material, that the score tries to evoke, rather because of its own merits. There are usually three types of scores for movies that are made in a franchise series: The first type tries to slavishly stay in tone, thematically and tonally (i.e. Jurassic Park series) The second type abandons all themes and semblances to previous entries, and tries to recreate the same emotions differently (i.e. Dark Knight series, Spider-Man series). The third type keeps existing themes and tries to embed them into a new sonic environment - such as King Of The Monsters. And that's a very good thing because, putting it bluntly, without those classic Ifukube themes, McCreary's effort would fall way short behind Desplat's Godzilla 2014. For those who know even cinematic trash like Son Of Godzilla, you are probably aware that the scores to those films play a major part in making them more appealing than they by all means should be. And that's because they have an essential thing: heart. I feel no heart in King Of The Monsters whatsoever. There is no shortage whatsoever of brass blasts, choir, churning rhythms, and a dose of classic themes. But none of it means a thing. I can't help but come back to the modern difference between a composer and a film composer. How is it that composers of merit can take one small aspect of a movie, and make it mean so much that it becomes an identity (i.e. Night On the Yorktown, Rose's theme, Hedwig's theme), but modern film composers can have 60 years and 30 movies worth of film music history at their disposal, just for one film, and then turn it into insignificance, or at most a cool moment? And that's because this score is plagued by modern film music sores, the most significant one being that there is this draining compulsion to always keep the music moving, be it with string chopping, with drum smashing, or synth bomping. Fucking why? There are never these moments where the music just lingers in the moment, relishes in itself, and explores an idea further, except when you hear the melodic part of Ghidorah's theme for example. Every time you start to hear a theme or a melody form for a few seconds, it's SNAP back to more chopping and droning. And it goes like that FOREVER, and after 30 minutes you just want to scream "Give me something to sink my teeth into!" A small setpiece, a militaristic march, anything! Speaking of themes, this score does itself no favors by choosing to make the guttural droning chant of Ghidorah's theme its central focus. I realize that Akira Ifukube himself wrote tribal chanting into his Godzilla music on occasion, but it didn't take up major parts of his score. At first, for example in "Outpost 32" or "Rise of Ghidorah", it does really get you, and if I listened to that alone in the dark for the first time, I'd probably shit my pants. The chanting has its peak in "The Hollow Earth", where it ventures almost into Moria territory. But it gets old. Quick. Very quick. Also because there is no melody to it, it's just one note/chord chanted. There is no other main theme to the score that I can hear, except that four note motif in "Welcome To Monarch", but that's a whisper of a motif, not a theme. There may be 17 or something monsters in the film, but you'd never know from this score. Godzilla has his theme, both the A and the B part, Ghidorah has his theme, Mothra's theme is there for dissapointingly brief moments, and that's it. A track like "Mass Awakening" is just hugely dissapointing. The inclusions of these themes I don't find organic at all, sadly, so with that, and the plague of modern film scoring techniques, lots of this score is just really sterile. The Godzilla March Arrangement in "Main Titles" is orgasm inducing I want to say, but there really isn't much else in this score that elicits feelings of deep satisfaction. The Godzilla March finds a few uses, especially in "Rebirth" and "Battle Of Boston", but you really want to yell "Fuck, just let it fly, dude, stop mickey mousing a fucking Godzilla movie!!" Also, there is no end credit music as far as I can tell. I still have to give this one the edge over Desplat's score. The use of classic Ifukube themes will just do that, and in the end, Ghidorah's theme beats no real theme for the Muto in Godzilla 2014. Also, King Of The Monsters does have the better individual tracks, even though you can cut 30 minutes easily. If I wanted to make a playlist, it will probably be this one: 1. Godzilla Main Title 2. Outpost 32 3. Rise Of Ghidorah 4. The First Gods 5. Rodan 6. Queen Of The Monsters 7. The Hollow Earth 8. Rebirth 9. Battle In Boston 10. Redemption 11. King Of The Monsters 12. Mothra's Song 13. Godzilla Main Title (reprise) Favorite track beside the Main Title is probably "Rodan". There, I can finally hear some character in the music, and the rhythm partially reminds me of the 60s movies. All told, the rating is heavily influenced by personal affection for Godzilla. So, personally, this is a 3/5 Objectively, it's 2.5/5

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

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.

Well, in the film I hear it only as source music and nothing more... Although from what I remember some motifs from it are used later in a dramatic context.

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.

This could never be the correct number when talking about soundtrack fans (of any composer).

Millions of people.

They're the best!

Oh yeah, I forgot about that. It was a pretty rare CD, right? 1996 was the first time I got it on CD

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.

All the best stuff's made in Australia. Cotton On shirts, Attack of the Clones, Revenge of the Sith...

Apolcalypse score is pretty good! Both Apocalypse and Jean Grey theme are good and the X-men theme shines nicely.

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.

Ftfy

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.

Anyone else remember the days when people talked about other things besides Star Wars?

Star Trek is a lot better anyway!

When it opened in Antwerp, it instantly became my favorite movie. Thanks to Star Wars, we got Alien and Blade Runner, which then became my favorite movies. Love the double vinyl. It's still the only version of Star Wars that I treasure.

I just finished my report of the Film Music Festival in Krakow, Poland, where he was one of the main guests. He conducted his own concert on Saturday, and on Sunday he supported the Traffic Quintet (founded by his wife) for a more intimate concert. He was also willing to sign items after his meet and greet. It was amazing to have him there. My report can be found here: https://soundtrackworld.com/2019/06/krakow-film-music-festival-2019/

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

Until the day we’ll hear to Williams’ demo cues, we can only speculate. I don’t have issues believing things went exactly as JP said and that he got input and perhaps even inspiration from what JW did. It’s surely an unusual collaboration, but considering how good the final result is, I think it was a smart choice from everyone else involved. Sandy Courage wrote the whole score, using Williams’ three newly-penned themes and also reusing and adapting themes and cues from the 1978 score. It was a job mostly of adaptation, but a very creative one, something that could be done only by a serious real music man like Courage. Yes, it’s an unusual collaboration for JW’s usual modus operandi, but it’s the kind of mutual effort that people like him and Courage were used to see during their time at Fox and MGM.

Anyone else like Horner's CBS News theme?

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.

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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!