BLUMENKOHL

While I don't like the design...yes it IS intimidating... That's mainly due to THE greatest introduction for a spaceship in the history of film/TV. My hair still stands on ends thinking about it just the way it did the first time I saw the shadow dwarfing those giant Star Destroyers. You just don't get shots like that these days...not even in modern Star Wars.

zzzZZZZzzzz good... I guess you judge music by how effectively it puts you to sleep?

Dammit! I'm an idiot. I retract the Enteprise-A... ANd replace it with this: Click THE most graceful, fearsome, all in all awesome vehicle design...EVER.

How is PS losing to Sith? An abomination I say! Burn the voters who voted for PS and Azkaban at the stake I say!

The comparison is not present.

Geisha.... Next up I shall vote off...Sith... And then I'm going to cry as I sit between a (very nice) rock and an (equally nice) hard place.

Gaaaaaahh.... Sorcerer's vs. Azkaban is going to...KILL ME. *Hopes for an unbreakable tie* They're both....two sides to a fantastic coin. One is a lighter side, and one a darker side.

GAAAAAAAAAAAAAAAAAAAAAAAHH. I voted for Sorcerers....not thinking to pick my least favorite (War of the Worlds) WOOPS.

The French Horn is actually from Germany.... Odd...

I believe the last time we heard of him was before he went to a similar John Williams concert, with the exact same orchestra.

Sound quality wise, the recording qualities of a lot of Goldsmith's scores from 1985-2004 (with the exception of '96 and '97), are just fantastic. Star Trek V has some of the best audio quality out of the 1980's.

Neither can hold my interest, but Munich has more highlights, such as "A Prayer for Peace"

I just realized... If he gets nommed for both Munich and Geisha...John Williams will tie Alfred Newman for 45 Oscar nominations.

The Undiscovered Country Trailer

10! Empire - 15!

Quoted for agreement.

Here Comes the King (1:08) *Listening to it right now*

European iTunes I believe?

I finally got Goldsmith's Timeline score, the expanded release no less, and after listening to it twice, I can only say Goldsmith still had it. I had been a bit disappointed with his last bits of output, like the Sum of All Fears, Nemesis, Looney Toons (which was really less than half-Goldsmith), etc. All were good, and had some great moments, but he'd done better... And this one was quite the surprise, it had my attention from beginning to end. The Dig is quite an awesome main title, and the love theme all wonderful stuff. Yes there are bits and pieces that are deja'vu, you can tell you've heard variations of some parts before by Goldsmith himself, but these moments are few and far in between. The orchestration's quite good, and I love the synth bull horn...adds a nice touch. The last two action tracks (36 and 37) are . They combined are among the most exciting and while still "going somwhere" and interesting action cues I've heard in the last 9 or 10 years. 11 minutes to get your heart pumping. After listening to this, I keep thinking how much I will miss Goldsmith's approach to film music. It's a different approach from John Williams, but if the two are apples and oranges, Goldsmith is the best apple, and Williams the best orange. And now the apples are without a best, and only a golden orange remains.

Star Trek The Motion Picture Main Titles... It started Star Trek...good enough to start a new year. What better way to start off the new year with the bu-bu-bu-BUM at the end (the original is still the best sounding bu-bu-bu-bum out of all the main title recordings)?

You know...there have even been times I've constructed tunes in my OWN head...out of what I think is my own creative and unique mind...that's not on sale or pressed to a CD or in a film anywhere, only to have them stolen by some composer... A lot of times these similarities are coincidences. Extraordinary in appearance, but more common than one can expect.

Obviously Holst...the Blockade Runner doesn't end like that...or have as much low-frequency oomph....and William's is fasterr!

*raises hand* :oops: LOL

Exactly.

John William's The Rebel Blockade Runner was lifted straight out of Holst's The Br--- Oh James Horner.... Well composers lift from each other all the time...he's just more notorious for it.