What Is The Last Score You Listened To? (older scores)

[Tallguy 6,686]

37 minutes ago, Schilkeman said:

 

He could have been every bit the equal to JW. He had the talent, knowledge, and penchant for Grand Gesture that made Williams so successful, but he treated so much of his own work like he couldn’t be bothered. 

 

And look at what THAT gave us. *SWOON*

 

Continuing the discussion AND keeping the thread on topic: I listened to A Perfect Storm. For me it's an undiscovered Horner gem.

 

It seems pretty obvious to me that someone temped the hell out of the opening to Treasure Planet with this.

[crocodile 9,489]

 Assassin's Creed Syndicate by Austin Wintory. I missed this one before. I remember hearing a selection or two during one of the concerts in Krakow. This is really really good actually, not the type of score you'd expect in a big video game franchise.

 

Karol

[Edmilson 11,476]

Anyway... 

 

We're approaching the 50,000th post on this thread! 

 

It'll be the first post on the next page of this thread (this is currently post #49,952). What is score is going to be reviewed as post 50k? And most important, who is going to write it?

[Jay 44,818]

Since your post is the third on this page, wouldn't it be post #49,953?

[Tallguy 6,686]

[Andy 6,930]

@Edmilson our Numbers Guy!  

[The Score Cleaner 9,299]

3 hours ago, Edmilson said:

Anyway... 

 

We're approaching the 50,000th post on this thread! 

 

It'll be the first post on the next page of this thread (this is currently post #49,952). What is score is going to be reviewed as post 50k? And most important, who is going to write it?

It's probably not even going to be much of a review, probably just Drax saying "it's just brighter and louder" or "the OST is all you need"

[Thor 9,334]

 

There aren't a lot of "various artists" soundtracks I enjoy, but this is one of them. Mansell's few score cues glide wonderfully into the top shelf selection of the hot shot house/trip hop/etc. acts at the time (Aphex Twin, Orbital, Massive Attack etc.).

[Richard P 5,081]

I randomly came across a film called The Forest on Prime and it turned out to be a completely watchable psycho/horror drama with a score by none other than Bear McCreary. Much more listenable than the average horror score, with bangs/crashes in limited supply, and more focus on the Japanese setting with some nice percussion and string-based material.

[crocodile 9,489]

The Monkey King 2

Night by Night

Heavy Metal

Joe Hisaishi: A Symphonic Celebration

Eye of the Needle (album)

The Sugarland Express

 

Karol

[Tom Guernsey 3,494]

The unused score to 2001 is one of the first things by North I ever heard (the Jerry/RSNO version having stocked at the library in Guernsey... sadly said CD library is no more, a shame as I had much fun exploring classical music there) but it had never really occurred to me to listen to the "actual" soundtrack. Given the endless parodies and its general fame, it's hard to listen to it objectively. Also Sprach Zarathustra has to be one of the most parodied bits of music from a film of all time (probably only the Psycho murder strings come close). Still, it's an undoubtedly iconic piece of music even if I'm not sure I'd have imagined it coming from the pen of Richard Strauss based on his other works. It feels somehow more otherworldly (helpfully) than most of his other music, especially the strident descending minor/major chords which feel like they should be from a work written much later than 1896. Much though I love North's alternate take on the material, it lacks the awe inspiring simplicity of the Strauss.

 

The rest of Also Sprach Zarathustra is well worth a listen I would add. Strauss's impact on film music is perhaps somewhat underrepresented when it comes to classical influences beyond the well known somewhat fleeting similarity between Death and Transfiguration (another marvellous tone poem) and the Love Theme from Superman. Plus anything by Korngold.

 

The Blue Danube by the other Strauss I can take or leave; it's pretty and I think it fits the scene surprisingly well but maybe that's just because I can't imagine anything else. I think it was Elite/Frontier, the 90s space trading computer game, which used a digital version of the Blue Danube when you came into a space station.

 

However, perhaps the biggest stroke of genius was to use the various bits of Ligeti*, in particular the Requiem, used for the Jupiter sequence, which unnerving, to say the least; perhaps the scariest bit of music not from a horror film ever written**. It's hard to fathom because it just builds sound without actually going anywhere (musically) and you kinda end up wondering where it'll end, but then it suddenly does. I don't know quite where North's music relates, but it's rather more gently haunting that genuinely terrifyingly alien and unknown. Not to say that North's music isn't excellent, but the Ligeti is just so nerve wracking, unearthly and shocking (albeit in an insidious rather than overt way) that it would have been hard to top it. The other Ligeti excerpts work equally well... surely the string writing had some influence on the more atonal parts of CE3K.

 

*I always thought it was "Li-jet-ee" but apparently it's "Liggety" with a hard g and a much more clipped pronunciation. Still sounds wrong to me.

 

**I mean, it probably isn't, but it's gotta be up there.

[The Score Cleaner 9,299]

Wasn't a Ligeti piece in the Godzilla 2014 trailer?

[Marian Schedenig 11,177]

5 hours ago, Tom Guernsey said:

but it had never really occurred to me to listen to the "actual" soundtrack. Given the endless parodies and its general fame, it's hard to listen to it objectively.

 

It seems pointless to me. When a soundtrack is made up of excerpts of existing pieces, I'd usually rather listen to the full pieces than the soundtrack "compilation". And especially in the case of 2001:ASO, the selection of pieces doesn't really seem very coherent outside the context of the film itself. Also, see below for Blue Danube.

 

5 hours ago, Tom Guernsey said:

The rest of Also Sprach Zarathustra is well worth a listen I would add. Strauss's impact on film music is perhaps somewhat underrepresented when it comes to classical influences beyond the well known somewhat fleeting similarity between Death and Transfiguration (another marvellous tone poem) and the Love Theme from Superman. Plus anything by Korngold.

 

The full Zarathustra is brilliant, and it's a shame that many people (I suppose) only know the fanfare and think that's all he wrote. And Death and Transfiguration is probably my favourite composition by Strauss outwith the operas.

 

5 hours ago, Tom Guernsey said:

The Blue Danube by the other Strauss I can take or leave; it's pretty and I think it fits the scene surprisingly well but maybe that's just because I can't imagine anything else.

 

I adore it for having a gorgeous, catchy melody, coupled with an amazingly crafted arrangement - of which I still don't know the history. The original version was actually written for and premiered by men's choir - one specific choir in fact, the Wiener Männgergesang-Verein. They still exist (we actually did a joint concert a few years ago, with Carmina Burana and two Wagner pieces). I suppose they were fresher in Strauss's days…

 

I don't usually listen to it though. In Austria it's strongly associated with New Year's: It plays on the radio and TV at the stroke of midnight of the new year, and obviously at the Philharmoniker's New Year's Concert. In my brain it's inseparably tied to cold winter nights, fireworks, and the optimistic promises of a new year (getting older and more cynical, it's pretty much the only remaining thing about New Year's that still carries that innocent optimism). So outside of that, I usually only hear it in 2001:ASO (its other strong association).

 

5 hours ago, Tom Guernsey said:

I think it was Elite/Frontier, the 90s space trading computer game, which used a digital version of the Blue Danube when you came into a space station.

 

It did, in a sequence that's clearly altogether inspired by 2001:ASO:

 

And in every (I think) new version of Elite since:

 

The current version finally lives up to its role model:

 

5 hours ago, Tom Guernsey said:

However, perhaps the biggest stroke of genius was to use the various bits of Ligeti*, in particular the Requiem, used for the Jupiter sequence, which unnerving, to say the least; perhaps the scariest bit of music not from a horror film ever written**. It's hard to fathom because it just builds sound without actually going anywhere (musically) and you kinda end up wondering where it'll end, but then it suddenly does. I don't know quite where North's music relates, but it's rather more gently haunting that genuinely terrifyingly alien and unknown. Not to say that North's music isn't excellent, but the Ligeti is just so nerve wracking, unearthly and shocking (albeit in an insidious rather than overt way) that it would have been hard to top it. The other Ligeti excerpts work equally well... surely the string writing had some influence on the more atonal parts of CE3K.

 

I really should check out those Ligeti pieces on their own. I've been meaning to for years. The atonal section before the big romantic finale in CE3K is without a doubt meant to mirror the Ligeti stuff.

 

5 hours ago, Tom Guernsey said:

*I always thought it was "Li-jet-ee" but apparently it's "Liggety" with a hard g and a much more clipped pronunciation. Still sounds wrong to me.

 

Like the first two syllables of "ligature" (I think).

[crocodile 9,489]

Howl's Moving Castle

Castle in the Sky/Asian Symphony (suite album)

Zulu

The Orville: Season 1

 

 Valerian and the City of a Thousand Planets

 

Karol

[Bespin Copilot 10,315]

According to the 2024 poll organized by Classic FM, John Williams remains very well represented among the favorite scores of their listeners.

 

 

[bollemanneke 4,249]

Listening to Battle Los Angeles. And sympathetic to Thor more than ever. Why not do a 4-hour album while you're at it?

[LiterallyIconic 1,564]

.

[Tom Guernsey 3,494]

On 08/08/2024 at 11:10 PM, Marian Schedenig said:

 

It seems pointless to me. When a soundtrack is made up of excerpts of existing pieces, I'd usually rather listen to the full pieces than the soundtrack "compilation". And especially in the case of 2001:ASO, the selection of pieces doesn't really seem very coherent outside the context of the film itself. Also, see below for Blue Danube.

 

The full Zarathustra is brilliant, and it's a shame that many people (I suppose) only know the fanfare and think that's all he wrote. And Death and Transfiguration is probably my favourite composition by Strauss outwith the operas.

 

Conceptually I agreed with you about soundtracks of this type, but I guess I just wanted all of the music in one place - plus I managed to buy a Ligeti album a couple of years ago thinking it had the music from 2001, but somehow failing to check whether this was in fact the case. Perhaps inevitably, it didn't. Totally agree at the lack of coherence, especially when you go from lush romanticism to harsh atonality.

 

The other thing that struck me about the use of music in 2001 was that of course there's no development of the material, so pieces are just restated at various points. This was especially noticeable with the rip someone appeared to have done of the isolated score. The music doesn't develop over the course of the film (because it can't) so rather than, say the Zarathustra fanfare somehow developing over the course of the film each time it appears, it's just another statement of the same thing which potentially lessens its impact.

 

On 08/08/2024 at 11:10 PM, Marian Schedenig said:

I adore it for having a gorgeous, catchy melody, coupled with an amazingly crafted arrangement - of which I still don't know the history. The original version was actually written for and premiered by men's choir - one specific choir in fact, the Wiener Männgergesang-Verein. They still exist (we actually did a joint concert a few years ago, with Carmina Burana and two Wagner pieces). I suppose they were fresher in Strauss's days…

 

I don't usually listen to it though. In Austria it's strongly associated with New Year's: It plays on the radio and TV at the stroke of midnight of the new year, and obviously at the Philharmoniker's New Year's Concert. In my brain it's inseparably tied to cold winter nights, fireworks, and the optimistic promises of a new year (getting older and more cynical, it's pretty much the only remaining thing about New Year's that still carries that innocent optimism). So outside of that, I usually only hear it in 2001:ASO (its other strong association).

 

I can't imagine the Blue Danube as a choral work... interesting to know. Thanks for posting the Elite clips, brings back memories! I used to play Frontier: Elite 2 a lot as a teenager. I was aware of a considerably updated version but never investigated it. I never really turned into an adult gamer.

 

After the aforementioned failure to acquire the Ligeti works from 2001, I might look at trying a bit more of his stuff out although I rather feel I'd find it rather hard work in larger doses. I think you are correct on how to pronounce this name though... I think the fact that it does have the same emphasis as ligature and with a hard "t" is why I prefer how I assumed it as pronounced, almost Le Jetty. Where the French go to get Le Ferry ;-)

[Bespin Copilot 10,315]

John Williams is my favorite film composer. It was during my teenage years that I realized the music from Star Wars, Superman, Indiana Jones, and E.T. all had one thing in common: they were composed by John Williams. He has always been a part of my life. Introduced to the public with Jaws in 1975, John Williams has continually collaborated with the greatest directors of our time to create remarkable soundtracks. After the superhero era, John Williams reinvented himself in the 1990s and continued to amaze us. Here are three essential soundtracks by John Williams composed in the early 1990s.

 

 

 

[Thor 9,334]

Do you have the "volume 2" soundtrack from 2001: A SPACE ODYSSEY, Tom? I have that on vinyl. It's actually more of a coherent listening experience than the soundtrack.

 

 

One of my absolute favourite scores in 2022, for a rather terrible film. Mansell juggles voices, electronics and acoustic instruments, with those aching chord modulations he does so well. Beautiful.

[Marian Schedenig 11,177]

6 hours ago, Tom Guernsey said:

The other thing that struck me about the use of music in 2001 was that of course there's no development of the material, so pieces are just restated at various points. This was especially noticeable with the rip someone appeared to have done of the isolated score. The music doesn't develop over the course of the film (because it can't) so rather than, say the Zarathustra fanfare somehow developing over the course of the film each time it appears, it's just another statement of the same thing which potentially lessens its impact.

 

In a sense the Strauß (Blue Danube) develops, because it is broken up into subsequent sections. The Strauss fanfare obviously doesn't. You could say that that's also fitting… or you could say that an original composer could have made the multiple appearances of the fanfare "the same but not the same", for the same repetitive effect but more interesting music (think Goldsmith's variations of the key motif in The Great Train Robbery).

 

6 hours ago, Tom Guernsey said:

Thanks for posting the Elite clips, brings back memories! I used to play Frontier: Elite 2 a lot as a teenager. I was aware of a considerably updated version but never investigated it. I never really turned into an adult gamer.

 

I played the second one on the Amiga in the 90s, but had absolutely no idea what I was doing and never managed to succeed in anything. I played the current one earlier this year - the only MMO I got sucked into so far, although I didn't interact with other players. It's fascinating, but eats up a lot of your time. (And once you start docking manually, you don't get the Strauß anymore).

 

1 hour ago, Thor said:

Do you have the "volume 2" soundtrack from 2001: A SPACE ODYSSEY, Tom? I have that on vinyl. It's actually more of a coherent listening experience than the soundtrack.

 

Vol. 2? What's on there? Surely the original one can't be missing anything? Or is Vol. 2 an attempt to cut up the pieces "chronologically" like in the actual film? (Which in this case I think makes absolutely no sense)

[Thor 9,334]

I think I posted it in this thread awhile back, but it's this one (it's surely one of the earliest "music from and inspired by" volume 2s, a thing that became popular several decades later):

 

https://www.discogs.com/master/88593-Various-2001-A-Space-Odyssey-Volume-Two

[Marian Schedenig 11,177]

1 hour ago, Thor said:

I think I posted it in this thread awhile back, but it's this one (it's surely one of the earliest "music from and inspired by" volume 2s, a thing that became popular several decades later):

 

https://www.discogs.com/master/88593-Various-2001-A-Space-Odyssey-Volume-Two

 

That's… curious.

[Thor 9,334]

But great, and a vinyl that plays enormously well both in sound and curation! I'm glad my dad picked it up and passed it on to me. The commenter on that Discogs page sums it up pretty well:

 

Quote

If you were in a cynical state of mind, you might conclude that this LP was released in order to cash in on the popularity of the 2001 film and the soundtrack that followed it. Liner notes state the intention of wishing to "extend the inspiration cycle" begun with the resurgence of interest in the classical selections present on the original 2001: A Space Odyssey soundtrack, and in this regard it does not disappoint. Naturally, Also Sprach Zarathrustra is reprised but of major interest are the Ligeti pieces; Lontano in particular would not appear out of place in the film. Richard Strauss and Aram Khatchaturian's music is also featured once more but it is the Delibes and Gounod compositions that make this album for me. Definitely recommended to collectors and fans of the film - plus, the sleeve is pretty cool.

 

 

A wonderful score (for an enormously underrated film). Yes, sure, it's built on the GLADIATOR template, but does it with skill and sophistication. The best score Shorter has done, outclassing his work on THE 100 and other things.

[Thor 9,334]

 

I've often wondered why this score has such huge crossover appeal (to non-film score fans), but I suppose it has something to do with the prog rock ambiance of it. A wonderful score through and through. Also includes a few more orchestral works by Towns.

[tomsmoviemadness 4,586]

4 hours ago, Thor said:

 

 

A wonderful score (for an enormously underrated film). Yes, sure, it's built on the GLADIATOR template, but does it with skill and sophistication. The best score Shorter has done, outclassing his work on THE 100 and other things.

I'm going to be honest, I never thought this was something you'd really like, but I'm glad you do. I love the main theme and "I Won't Leave You" is such a haunting cue. Whole thing is underrated.

[Thor 9,334]

35 minutes ago, JNHFan2000 said:

I'm going to be honest, I never thought this was something you'd really like, but I'm glad you do. I love the main theme and "I Won't Leave You" is such a haunting cue. Whole thing is underrated.

 

I've been a big fan of the film since the premiere, being a longtime Paul W.S. Anderson super-fan. Here's my review (Google translated). And the score is awesome too.

[crocodile 9,489]

 Roman Empire by Toshiyuki Watanabe. An orchestral score from the mid-2000s Japanese documentary miniseries. A very pleasant, although only 41-minute long, album recently resurrected by Quartet Records. As composer explains in the liner notes, there is no real point of trying to recreate Roman music as likely has as many faces as there were regions. He concludes that probably all Western in some sense originates from that era and it is more important to capture the feeling rather than accuracy. The vocals of Bosnian singer Jadranka Stojaković and acoustic guitar performances from Masayoshi Furukawa provide a vague Mediterranean-like aura but the rest is primarily orchestral, with a couple of tracks incorporating some slight synth work. I would say this is probably much closer to something Danna brothers would come up with rather than someone from Zimmer stable. Very nice disc.

 

Karol

 

 

[LiterallyIconic 1,564]

.

[GerateWohl 6,369]

I find, Goldsmith's socres, especially from the 80s onwards, are missing completely the ambition to be experienced outside of the movie context. That is why they often appear unadorned, focussing on the primary effect without reverbaration.

[FBC Director 10,606]

Listening to Disc 2 of the FSM Poltergeist set, because it's the only way to hear the OST in a digital format. I appreciate the work put into this set, but I've always found it a tad on the trebly side, which forces me to fiddle with the EQ on my pre-amp to get a more ear-pleasing balance. But the old MGM LP is a revelation in how aggressive and ferocious this score can sound, which is sadly missing on any subsequent CD release.

[Naïve Old Fart 12,533]

 The OST of POLTERGEIST was a tad on the trebly side in 1982. It's still a great sounding score, though. Another good job, from Botnik.

[FBC Director 10,606]

The few tracks of The Prize on that FSM CD sound pretty good.

 

I also listened to Goldsmith's swinging 60s score Sebastian. The Intrada cover to this thing suggests another Seconds-type score, but aside from the Flint duo, this is probably the closest you'll imagine a Goldsmith score to an Austin Powers flick. I haven't seen the film, but I imagine it's probably dated as hell. The Westerns he scored at that time have aged well, but those contemporary flicks never endured.

[Bespin Copilot 10,315]

James Newton Howard began his career in pop music by writing arrangements for various artists (even Charles Aznavour!). He is now a renowned film composer, known for his work on "The Sixth Sense," "The Dark Knight," "The Hunger Games," "King Kong" (2005), and "Fantastic Beasts."

 

Three scores from the 90s :

[FBC Director 10,606]

Damnation Alley

 

I'd been listening to the bits and pieces of this only previously available on the old Varese JG at Fox box, which was a generous number of tracks for a compilation of obscure, forgotten scores that nobody except neurotic freaks like myself have even heard of. But I managed to acquire the more recent Intrada because I wanted to hear a fuller presentation, and it's great how this music elevates the film with frantic action cues, synthy rhythms, and a berserk sense of urgency that the sluggish movie on its own desperately needed. They kept hiring this guy as if he was some Hollywood utility man to make these turkeys seem better than what they really were. He polished so many turds, you might as well just stick to buying the polish.

[Naïve Old Fart 12,533]

14 hours ago, Bespin said:

James Newton Howard began his career in pop music by writing arrangements for various artists (even Charles Aznavour!). He is now a renowned film composer, known for his work on "The Sixth Sense," "The Dark Knight," "The Hunger Games," "King Kong" (2005), and "Fantastic Beasts."

 

Three scores from the 90s :

 

SNOW FALLING ON CEDARS is top-5 JNH, for me.

[FBC Director 10,606]

Hour of the Gun

 

Pleasant, if not unremarkable Western. Others like Rio Conchos and Bandolero featured more points of interest. He must've been in a scheduling rush on this one.

 

 

Warning Shot

 

Another one of those "what if Goldsmith scored a 007 flick" scores. Plenty of variety as well as those mid-60s cliches like loungy organs, bass riffs, and those brassy blasts of intrigue you'd probably recognise in a Neal Hefti score. I imagine these 60s scores would have more appeal if they were recorded and mastered with techniques perfected in the 80s onwards, but I guess I can't expect everything to sound like a Telarc master.

[FBC Director 10,606]

A Patch of Blue

 

Do you ever hear anything with this level of delicate sincerity anymore? There's a reason a score like this resonated and endured in a way that more hip, trendy and contemporary efforts like Sebastian or Warning Shot never did – people respond more to evocative works that hit them on a primal level. This score ain't trying to be too clever, unlike some of the others that filmmakers and composers were fussing with at the time.

[Bespin Copilot 10,315]

According to what John Williams still conducts, here are the essential albums to listen to. This is the music he loves and wants to share with the public.

12 selected albums.

 

- Violin Concerto No. 2 (2022) --> For Han Solo and The Princess and Marion's Theme too.

- John Powell - Solo: A Star Wars Story (2018) --> For The Adventures of Han

- The Last Jedi (2017)

- Star Wars: The Force Awakens (2015)

- A Tribute to John Williams: An 80th Birthday Celebration (2012) --> Sound The Bells, E.T., Dartmoor 1912, Elegy for Cello and Orchestra, etc.

- Harry Potter and The Prisoner of Azkaban (2004)
- Harry Potter and the Sorcerer's Stone (2001)

- Williams on Williams – The Classic Spielberg Scores (1995) --> For Hook, Schindler's List, Jurassic Park, E.T., etc.

- Far and Away (1992)

- The Spielberg/Williams Collaboration (1991) --> Raider's March, Scherzo for Motorcycle and Orchestra, Jaws Theme, Out to Sea/ Cage Fugue, E.T., etc.

- The Star Wars Trilogy (1990)

- By Request (1987) --> For Olympic Fanfare And Theme, Excerpts From Close Encounters Of The Third Kind, Superman's March, E.T., etc.

[Thor 9,334]

 

Everyone raves about THE WHITE LOTUS, but I never really cared much for that. Too "normal". I far prefer Tapia de Veer's totally out-there, weird sonorities from earlier, like this amazingly hypnotic series from 2014. Eclectic and bizarre, and far too long at 1 hour and 24 minutes, but nothing a little whittling can't fix.

[Thor 9,334]

 

A definite highlight of 2019. Review here.

[Edmilson 11,476]

Michael Giacchino - John Carter (recording sessions)

 

Over the last 5 years or so I kind of grew tired of Giacchino. Suddenly, his scores sounded (that's not a nice word, I know, but it's the only one I can think of) amateurish. Like he was a enthusiastic fanboy of John Williams, Jerry Goldsmith, and other famous film composers, but didn't study the classical masters that inspired them.

 

I started to think "why was MG considered great anyway?". So I listened to one of his classics from his "golden era" and then I remembered. John Carter has great themes and the way they interact is amazing, plus awesome action and outstanding emotional content. So I was like "THIS! This is the Giacchino I know and love from Lost, Incredibles, Ratatouille, Star Trek..."

 

A great score that reminded me of how great Giacchino can be when he's inspired. 

[GerateWohl 6,369]

On 28/03/2024 at 6:43 PM, GerateWohl said:

Wuthering Heights - Ryuichi Sakamoto

 

A really beautiful score with a fine striking longlined love theme that seems to be repeated about a hundred times. But when the album is over you just want to start again from the beginning. 

Watched the movie yesterday and I have to say the music really seines exceptionally in the movie. Great work. Makes me love this music even more. The film doesn't always keep up to the great music. But it's ok.

[Jurassic Shark 15,940]

11 minutes ago, GerateWohl said:

Watched the movie yesterday and I have to say the music really seines exceptionally in the movie. Great work. Makes me love this music even more. The film doesn't always keep up to the great music. But it's ok.

 

I clearly need to give this another spin.

[GerateWohl 6,369]

Maybe for a change start with the last 10 tracks.

[Thor 9,334]

 

A lovely highlight of 2022. Review here.

[Bespin Copilot 10,315]

Hommage to Elliot Goldenthal.

 

[Thor 9,334]

 

A highlight from 2013 - one of those lovely Asian/Western fusion scores you don't hear so often anymore (this year's SIGHT by Sean Philip Johnson is another rare example) and that was more common in the 90s. With this and EQUUS in 2018, Fung turned into a "one to watch".

[GerateWohl 6,369]

Clash of the Titans - Laurence Rosenthal 

This will always be my go to score, when I  want to listen to Rosenthal. Better than Young Indiana Jones. Better than Horner's Krull, that came shortly afterwards for the same kind of fantasy genre.

[Thor 9,334]

I like the theme, especially the version that's on Kunzel's FANTASY ADVENTURE album, but the rest of the score never did much for me, so I traded off the CD (the older version) years and years ago. But I do like me some Rosenthal now and then.