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I would add 'Adore', 'The Gift of Light' and his truly wonderful collection of the 2006 Commonwealth Games. I uploaded his Rugby World Cup theme, which also packs some serious punch:

Not particularly high on nutritional value but occasionally fun: that's as good as it gets as far as Disney commercial fodder is concerned. And Newton Howard at least is able to deliver a catchy melodic grab hook in form of a short, vaguely swashbuckling brass triplet (no, it's not the Metallica song, it's starting ca. 01:14 in the suite). The whole thing seems to be caught in a time capsule: Treasure Planet, Peter Pan, Atlantis, you name it, all the crafty utensils from the Disney toolshed are there, but as the many short, inconsequential cues suggest, a breathtaking narrative isn

He had a wandering eye towards Holst, too (nothing like a 'ripoff', but you can hear the traces).

Casper.

Better than expected horror score that sounds like from the late 70's/early 80's (with a dash of the 90's Miramax scores thrown in for good measure) Not as awful as expected - the huge action music still is - with a few pieces even approaching something that could be called 'spirited' or 'stirring'. It doesn't amount to much, bun in the tragic musical tradition of Marvel it's certainly a highlight.

I dragged myself through it on Spotify and the only thing i noticed was a fake vocalise on the Area 52-stuff. The album version is better. As for the other archival stuff, i don't mind it, but there should be really something more worthwile to do with your time than to wade through all these more or less identical versions. Gremlins 2 it ain't (which is, in retrospect, a monumentally cool score that would be all but impossible today).

Which is weird, since to me it's idiomatically much closer to Copland's Hoe-Down and similar americana stuff. I first became aware of this particular style by this: which led me straight to this: Which in essence became my Newman initiation.

Don't. It will be a letdown, at least it's in case of 'Follow Me'. Though it may be over-analyzing at this point, this is peak Barry in the sense that the calliope-like theme plays over a dark and moody opening scene at the east-Berlin wall - the idea being that later in the film there is a conversation between agent George Segal and a schoolteacher about children being the the next generation germans, having to bear the nazi burden and also being the hope to build something better. This is a needle-bare thread, but Barry went along with it, making the child-like innocence theme t

It's fun, but certainly far from *the* greats. Neither in concept nor execution. And the last SW Williams'ses aren't, either.

Had the complete once, the album is the best you could get out of that.

77 Goldsmith's 5th or 6th 1992 outing, The Public Eye went unused. By this time no unusual occurrence, though in all fairness, Goldsmith's slight jazzy thriller score probably was more than sufficient for this slight movie. Why someone would pay good money for a replacement score for a period movie with Joe Pesci with a box-office potential of about 1 Mio. is beyond me (its take was $3,067,917 against production costs of about 15 million). But Universal did. The score itself is one of those small-scale things Goldsmith loved to do at the time but more often than not failed to injec

Barry was sure more interesting and varied before the wake-comatose part of his career, meaning his Out of Africa-and-beyond phase. I'm still fond of a lot of it, but it sure is very slow and very repetitive. Three not yet listed here: and one of his most glorious old-school themes, after the 1-minute mark: