Miz

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'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'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.    

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.    

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.    

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.    

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.    

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.    

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.

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?

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?

I gave this a deep listen while walking over the coastal mountains of Wales to a 5000-year-old stone circle. Totally fell in love with this score, more than when I got it first as a kid.
 
The sound quality is an improvement for me because as a teenager I listened to a CD on a whatever-stereo, and ripped it in 128kbs because I didn't know any better. Now the instrumentation and detail is leaping out at me, and the new material draws out important parts of the musical development.
 
I'm sure this is Horner's best score - I'm not saying he peaked early, much fantastic work was to come, but the craftmanship at work is astounding. Thematic inventiveness, development, contrast (between short/long, hard/soft etc.). Rich orchestration, strong percussion and exotic instruments deployed with subtlety and force. Excellent spotting, dramatic instincts and carrying or lifting the imagery beyond its hokey origins (much like Star Wars and other classics).
 
And it was clearly temped with obvious sources, and much like Star Wars and other classics (even take The Incredibles), Horner pulled together a coherent and valid whole from the sound-parts. You can also hear the influences of other contemporary successes of his (Aliens, Wrath of Khan) during a part of his career where he was leaning into new territory - it's great to hear the now-tired villain motif as it was new. Like a great Williams or Powell score, it has a ton of notes! Basically it's more melodically driven than many similar scores. The performances of orchestra and solos are strong and heartfelt. And yes that source music is punchy and fun too.
 
This makes me want to watch Willow again, as it's really a score that outshines is source, and makes for a great 'story listen' too.

I gave this a deep listen while walking over the coastal mountains of Wales to a 5000-year-old stone circle. Totally fell in love with this score, more than when I got it first as a kid.
 
The sound quality is an improvement for me because as a teenager I listened to a CD on a whatever-stereo, and ripped it in 128kbs because I didn't know any better. Now the instrumentation and detail is leaping out at me, and the new material draws out important parts of the musical development.
 
I'm sure this is Horner's best score - I'm not saying he peaked early, much fantastic work was to come, but the craftmanship at work is astounding. Thematic inventiveness, development, contrast (between short/long, hard/soft etc.). Rich orchestration, strong percussion and exotic instruments deployed with subtlety and force. Excellent spotting, dramatic instincts and carrying or lifting the imagery beyond its hokey origins (much like Star Wars and other classics).
 
And it was clearly temped with obvious sources, and much like Star Wars and other classics (even take The Incredibles), Horner pulled together a coherent and valid whole from the sound-parts. You can also hear the influences of other contemporary successes of his (Aliens, Wrath of Khan) during a part of his career where he was leaning into new territory - it's great to hear the now-tired villain motif as it was new. Like a great Williams or Powell score, it has a ton of notes! Basically it's more melodically driven than many similar scores. The performances of orchestra and solos are strong and heartfelt. And yes that source music is punchy and fun too.
 
This makes me want to watch Willow again, as it's really a score that outshines is source, and makes for a great 'story listen' too.

I gave this a deep listen while walking over the coastal mountains of Wales to a 5000-year-old stone circle. Totally fell in love with this score, more than when I got it first as a kid.
 
The sound quality is an improvement for me because as a teenager I listened to a CD on a whatever-stereo, and ripped it in 128kbs because I didn't know any better. Now the instrumentation and detail is leaping out at me, and the new material draws out important parts of the musical development.
 
I'm sure this is Horner's best score - I'm not saying he peaked early, much fantastic work was to come, but the craftmanship at work is astounding. Thematic inventiveness, development, contrast (between short/long, hard/soft etc.). Rich orchestration, strong percussion and exotic instruments deployed with subtlety and force. Excellent spotting, dramatic instincts and carrying or lifting the imagery beyond its hokey origins (much like Star Wars and other classics).
 
And it was clearly temped with obvious sources, and much like Star Wars and other classics (even take The Incredibles), Horner pulled together a coherent and valid whole from the sound-parts. You can also hear the influences of other contemporary successes of his (Aliens, Wrath of Khan) during a part of his career where he was leaning into new territory - it's great to hear the now-tired villain motif as it was new. Like a great Williams or Powell score, it has a ton of notes! Basically it's more melodically driven than many similar scores. The performances of orchestra and solos are strong and heartfelt. And yes that source music is punchy and fun too.
 
This makes me want to watch Willow again, as it's really a score that outshines is source, and makes for a great 'story listen' too.

I gave this a deep listen while walking over the coastal mountains of Wales to a 5000-year-old stone circle. Totally fell in love with this score, more than when I got it first as a kid.
 
The sound quality is an improvement for me because as a teenager I listened to a CD on a whatever-stereo, and ripped it in 128kbs because I didn't know any better. Now the instrumentation and detail is leaping out at me, and the new material draws out important parts of the musical development.
 
I'm sure this is Horner's best score - I'm not saying he peaked early, much fantastic work was to come, but the craftmanship at work is astounding. Thematic inventiveness, development, contrast (between short/long, hard/soft etc.). Rich orchestration, strong percussion and exotic instruments deployed with subtlety and force. Excellent spotting, dramatic instincts and carrying or lifting the imagery beyond its hokey origins (much like Star Wars and other classics).
 
And it was clearly temped with obvious sources, and much like Star Wars and other classics (even take The Incredibles), Horner pulled together a coherent and valid whole from the sound-parts. You can also hear the influences of other contemporary successes of his (Aliens, Wrath of Khan) during a part of his career where he was leaning into new territory - it's great to hear the now-tired villain motif as it was new. Like a great Williams or Powell score, it has a ton of notes! Basically it's more melodically driven than many similar scores. The performances of orchestra and solos are strong and heartfelt. And yes that source music is punchy and fun too.
 
This makes me want to watch Willow again, as it's really a score that outshines is source, and makes for a great 'story listen' too.

I gave this a deep listen while walking over the coastal mountains of Wales to a 5000-year-old stone circle. Totally fell in love with this score, more than when I got it first as a kid.
 
The sound quality is an improvement for me because as a teenager I listened to a CD on a whatever-stereo, and ripped it in 128kbs because I didn't know any better. Now the instrumentation and detail is leaping out at me, and the new material draws out important parts of the musical development.
 
I'm sure this is Horner's best score - I'm not saying he peaked early, much fantastic work was to come, but the craftmanship at work is astounding. Thematic inventiveness, development, contrast (between short/long, hard/soft etc.). Rich orchestration, strong percussion and exotic instruments deployed with subtlety and force. Excellent spotting, dramatic instincts and carrying or lifting the imagery beyond its hokey origins (much like Star Wars and other classics).
 
And it was clearly temped with obvious sources, and much like Star Wars and other classics (even take The Incredibles), Horner pulled together a coherent and valid whole from the sound-parts. You can also hear the influences of other contemporary successes of his (Aliens, Wrath of Khan) during a part of his career where he was leaning into new territory - it's great to hear the now-tired villain motif as it was new. Like a great Williams or Powell score, it has a ton of notes! Basically it's more melodically driven than many similar scores. The performances of orchestra and solos are strong and heartfelt. And yes that source music is punchy and fun too.
 
This makes me want to watch Willow again, as it's really a score that outshines is source, and makes for a great 'story listen' too.

I gave this a deep listen while walking over the coastal mountains of Wales to a 5000-year-old stone circle. Totally fell in love with this score, more than when I got it first as a kid.
 
The sound quality is an improvement for me because as a teenager I listened to a CD on a whatever-stereo, and ripped it in 128kbs because I didn't know any better. Now the instrumentation and detail is leaping out at me, and the new material draws out important parts of the musical development.
 
I'm sure this is Horner's best score - I'm not saying he peaked early, much fantastic work was to come, but the craftmanship at work is astounding. Thematic inventiveness, development, contrast (between short/long, hard/soft etc.). Rich orchestration, strong percussion and exotic instruments deployed with subtlety and force. Excellent spotting, dramatic instincts and carrying or lifting the imagery beyond its hokey origins (much like Star Wars and other classics).
 
And it was clearly temped with obvious sources, and much like Star Wars and other classics (even take The Incredibles), Horner pulled together a coherent and valid whole from the sound-parts. You can also hear the influences of other contemporary successes of his (Aliens, Wrath of Khan) during a part of his career where he was leaning into new territory - it's great to hear the now-tired villain motif as it was new. Like a great Williams or Powell score, it has a ton of notes! Basically it's more melodically driven than many similar scores. The performances of orchestra and solos are strong and heartfelt. And yes that source music is punchy and fun too.
 
This makes me want to watch Willow again, as it's really a score that outshines is source, and makes for a great 'story listen' too.

I gave this a deep listen while walking over the coastal mountains of Wales to a 5000-year-old stone circle. Totally fell in love with this score, more than when I got it first as a kid.
 
The sound quality is an improvement for me because as a teenager I listened to a CD on a whatever-stereo, and ripped it in 128kbs because I didn't know any better. Now the instrumentation and detail is leaping out at me, and the new material draws out important parts of the musical development.
 
I'm sure this is Horner's best score - I'm not saying he peaked early, much fantastic work was to come, but the craftmanship at work is astounding. Thematic inventiveness, development, contrast (between short/long, hard/soft etc.). Rich orchestration, strong percussion and exotic instruments deployed with subtlety and force. Excellent spotting, dramatic instincts and carrying or lifting the imagery beyond its hokey origins (much like Star Wars and other classics).
 
And it was clearly temped with obvious sources, and much like Star Wars and other classics (even take The Incredibles), Horner pulled together a coherent and valid whole from the sound-parts. You can also hear the influences of other contemporary successes of his (Aliens, Wrath of Khan) during a part of his career where he was leaning into new territory - it's great to hear the now-tired villain motif as it was new. Like a great Williams or Powell score, it has a ton of notes! Basically it's more melodically driven than many similar scores. The performances of orchestra and solos are strong and heartfelt. And yes that source music is punchy and fun too.
 
This makes me want to watch Willow again, as it's really a score that outshines is source, and makes for a great 'story listen' too.

I cued this up into 20 tracks, kept the Nelwyns at the start (the village features plenty at that stage of the film even if that music does not, it's already at the end so no need to move these), and split Bavmorda's Spell Is Cast into the first 8 and last 9 minutes ('Castle Assault'), and split Willow The Sorcerer into a 3 and 6 minute tracks (Homecoming & Credits). Willow's Theme is a concert piece at the end. Twenty is a nice round number too.
 
I'm sure you're all thrilled to know.

I cued this up into 20 tracks, kept the Nelwyns at the start (the village features plenty at that stage of the film even if that music does not, it's already at the end so no need to move these), and split Bavmorda's Spell Is Cast into the first 8 and last 9 minutes ('Castle Assault'), and split Willow The Sorcerer into a 3 and 6 minute tracks (Homecoming & Credits). Willow's Theme is a concert piece at the end. Twenty is a nice round number too.
 
I'm sure you're all thrilled to know.

I cued this up into 20 tracks, kept the Nelwyns at the start (the village features plenty at that stage of the film even if that music does not, it's already at the end so no need to move these), and split Bavmorda's Spell Is Cast into the first 8 and last 9 minutes ('Castle Assault'), and split Willow The Sorcerer into a 3 and 6 minute tracks (Homecoming & Credits). Willow's Theme is a concert piece at the end. Twenty is a nice round number too.
 
I'm sure you're all thrilled to know.

I cued this up into 20 tracks, kept the Nelwyns at the start (the village features plenty at that stage of the film even if that music does not, it's already at the end so no need to move these), and split Bavmorda's Spell Is Cast into the first 8 and last 9 minutes ('Castle Assault'), and split Willow The Sorcerer into a 3 and 6 minute tracks (Homecoming & Credits). Willow's Theme is a concert piece at the end. Twenty is a nice round number too.
 
I'm sure you're all thrilled to know.

I cued this up into 20 tracks, kept the Nelwyns at the start (the village features plenty at that stage of the film even if that music does not, it's already at the end so no need to move these), and split Bavmorda's Spell Is Cast into the first 8 and last 9 minutes ('Castle Assault'), and split Willow The Sorcerer into a 3 and 6 minute tracks (Homecoming & Credits). Willow's Theme is a concert piece at the end. Twenty is a nice round number too.
 
I'm sure you're all thrilled to know.