Bofur01

I agree, try the S3 and S4 releases.  His best work was with RTD.  People (other than me) seem to love the driving theme for the Matt Smith Doctor, but frankly the albums got
much, much longer as time went on and as a result, the highlights got buried in a bunch of other stuff that was fine or good but not great.

I’d probably go with seasons 4 and 5. The former is arguably the best of the RTD regular series and the latter is some of best of the more fairytale Moffat era including the insanely catchy I am the Doctor. Of the Christmas specials I would recommend A Christmas Carol but they are all pretty great. I’d lay money on you getting enough recommendations that you get someone suggesting every release to be honest… 

I squeed like a fan girl. Sounds great. Can’t wait. For any of it. 

Gold returning is such good news. He was the soul of New Who for me, it wasn't the same when he left. I think he's one of the best composer out there, his work is outstanding!
 
He just did in interview for the Doctor Who Magazine where he confirms that "The Doctor's theme" and "Donna's theme" will come back as well as Series 10 being released! Although no date on that yet.
 
Here is the interview (You can open image in new tab to be able to zoom in, I don't have another format)
 



 
 

This is fucking brilliant news!
 
Gold is one of the best composers for television - I can't describe how brilliant it was to hear the evolution of the music from 2005 to 2017 as the budget increased, so too did Gold's access to orchestrate and record the scores with a full symphony orchestra. By 2010 the scores had the size and opulence of any big Hollywood film score. 
 
 

Fucking YES
 
I’ve been anxiously awaiting the news of a new composer trying to steel myself for disappointment but this is everything I have always been wanting
 
Biggest difference to the feel of Chibnall’s era compared to the rest of Doctor Who is the lack of pathos of which the music is a HUGE part of. It’s what I always notice immediately going from one episode in the Chibnall era to anything before that
 
I would’ve been happy just having him back for the 60th and to hear those glorious rich tapestry of themes for the Tennant era, but to hear he’s going on to Series 14 as well makes me ecstatic and I can’t wait to hear what new things he comes up with
 
I always thought his strongest music was in the RTD1 era and I do think he ran out of steam by the end, but with so much distance from the project and working with a longtime collaborator with, what I’m surprised to see as no hesitation, we could be on the brink of another Golden (heh) Era
 
Last thing I expected to wake up and hear, my god I can’t wait for the sheer comfort of hearing Murray’s music with the return of Doctor Who in that first 60th episode. It’s going to be a surreal but beautiful experience, I’m especially going to feel it when I hear Donna’s theme again

Did not expect that.
 
That article doesn't really clarify whether he's doing just Tennant's specials or if he's going to do the new series as well. Maybe that's not something he needs to decide yet.
 
It's going to come as good news for those clamouring for a series 10 soundtrack release (I'm not that fussed either way) as it might reignite the spark for him to put an album together.

Murray Gold returning to compose new series of Doctor Who

Terrific work Monoverantus. These are your best ones yet. I think your tracks work best when you replace the score entirely rather than layering parts on top of the pre-existing score tracks.
 
The Fussy Bilbo theme played in a more foreboding way works great in that scene. As does the Istari theme - a personal favourite of mine, I got a real kick out of hearing it over the scene of Gandalf and Saruman in Isengard. I'm hoping there may be some unreleased Shore cues containing more of the Istari theme in future Hobbit Complete Recordings or a Rarities Archive. 
 
The Council of Elrond entrances was fun; the Woodland Realm Theme has such an evocative melody that using it for Legolas’s entrance is brilliant and gives a sense that he carries a legacy with him. Using the Dwarven Entrance Theme for Gimli was an inspired choice and pairs great with that shot of him!
 
The dwarven themes during the Mines of Moria sequence was something I didn’t know I needed, but wow! The House of Durin theme for the tombs is just perfect. I’d love to hear more scenes with Erebor, Thorin and The House of Durin themes (or even Dain’s theme if it would make sense anywhere!).

Both of them in their prime? Williams. At the moment? I could make a case for either.

I have a hard time calling four descending notes without any specific chord progression a theme.
The shape capping off the Erebor theme is more closely related to Tauriel and Kili's theme than any other dwarf theme.

The Ian Nathan book is a frustratingly bad book. He has so much access to the film makers but largely just regurgitates stuff from the DVDs and other books. 
 
It’s so all over the place. Like literally. At one stage he’s going “chronologically” through the shoot. He gets to August, talks about how busy everyone is… and then goes on to talk about Andrew Lesnie being hired in May 1999. The whole book is all over the place in its scope and timeline. It’s far more about the business of making the films rather than the actual making of the films. And he’s a very poor writer. But unfortunately, he thinks he’s the dog’s bollocks. 
 
A Rinzler style look at the films would be amazing and hopefully someday it will happen. But hopefully Ian Nathan is done with middle-earth. 
 
The Sibley book is great though! 

Elrond Half Elven is secretly one of the best themes in the show. The main melody has a quiet dignity to it. And the B part played on horn is just lovely. 

I don't know Tanya Moodie, but Ciarán Hinds and Rory Kinnear are both great actors and quality additions to the show. They're clearly looking to add some gravitas to the cast, something Lucas (and later Jackson) recognized was essential when casting for fantasy.
 
Not that it will matter.

I didn't even realise that the intended Weathertop reveal was at the end of the rarities track. I found some of those additional cues far more interesting than others, and that just fell under the radar.
 
The 'score restore' videos are academically very interesting, but I do think they highlight for me, especially based on the Weathertop example, that PJ did a lot of sensible tracking. Of course, not to suggest for a moment that those bits should have been on the CRs, but I see so many occasions where either the film has silence or tracking, and I hear the original music and think.... yeah... that doesn't work.

I can get behind this, and the opposite as well. I think the Theatrical cuts all have one scene too few; FOTR should've included the Gift-giving scene, TTT Faramir and Boromir's backstory, and ROTK Saruman's death.

TLJ is the best mixed modern JW action score. I hope DOD matches or surpasses it in terms of JW's music being front and center. 

Mangold just posted some very interesting tweets!
 
Not only has he raised the idea of a "big fat album" with JW's team (in response to questions about a complete soundtrack), he also describes the score as "heroic, bombastic, sly, majestic, sinister, romantic & screwball!"
And to allay fears of another inaudible TFA/TROS mess, he's reassured fans about the sound mix:
Just imagine if Mangold's the guy who finally convinces JW to release a 2CD OST, or even encourages JW to release an expansion alongside his regular OST!
 
Or at the very least, bonus tracks on the digital album...

The third was fantastic!!

This score (mostly the soundtrack album, not the individual episode releases) is one of the few modern soundtracks I regularly listen to. It's a real feat and stands fairly unique in this current age of film and television music.

I mean, everyone has different opinions on these things. But ROTJ is easily my least favourite OT score.
 
It's a bit of a conundrum, because the dramatic stuff (everything with Vader/Luke/Palpatine) is fantastic – some of the best music in the whole trilogy – but the Ewok material irritates the hell out of me.
 
On the other hand, SW and ESB are insanely tight. Not a single wasted note, not a single cue that makes me reach for the skip button.

I assume if this does well it’s a middle finger to the “woke brigade” and if it tanks it’s because of the “woke brigade”.
 
Cleese is obviously a genius and a comedy legend, but he’s become a bitter old man.
 
He was moaning the other week about the BBC not showing Monty Python repeats, despite Netflix having the rights.

Damn, seeing this thread bumped reminds me of how much I desire to listen to the whole score. I'd kill for an update from Mike lol 

Jon Favreau hates all the things I hate about Star Wars, and Kathy Kennedy made those things happen!!!!

Doomcock (Overlord DVD who is their main and only source) has been peddling the narrative that Kathleen Kennedy is the root of all evil in Lucasfilm so I'd take that with a dumptruck of salt