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

[filmmusic 2,897]

Didn't expect this music by Nascimbene for a religious content film.

Very sparsely scored, for solo instruments (or a combination of 2 instruments) and much dialogue, dialogue, dialogue (in Italian)!!!

I guess it needed it since the music was so thin.

Didn't like it.

[Bespin Copilot 10,308]

An Howard Shore Selection for today:

- Mrs. Doubtfire

- Philadelphia (The score)

- The Game

[Bespin Copilot 10,308]

On 16/07/2024 at 7:49 AM, Bespin said:

An Howard Shore Selection for today:

- Mrs. Doubtfire

- Philadelphia (The score)

- The Game

That was a lovely selection, so I've decided to continue in the same vein with 90s scores... featuring Thomas Newman today.

I have so much taste!

 

- The Shawshank Redemption (expanded)
- Meet Joe Black
- The Green Mile

[A24 4,995]

 

I think this is the first time I hear it. Wow! That woodwind piece! 

[filmmusic 2,897]

Just now, A24 said:

I think this is the first time I hear it.

You're at jwfan, you have more than 46,000 posts and it's the first time you hear The BFG?

What kind of jwfan are you? 

[A24 4,995]

4 minutes ago, filmmusic said:

You're at jwfan, you have more than 46,000 posts and it's the first time you hear The BFG?

What kind of jwfan are you? 

 

Some are only here for Star Wars so I don't think I'm that bad. 

[Jay 44,745]

Basil Poledouris - Starship Troopers

 

I've been listening to this a lot lately.  I used to just love it as a great action score. It's still that, but in recent years I've grown to really appreciate the numerous character, bug, and other themes that weave throughout this entire score - it's super impressive.  For me, this is Basil's crowning achievement (and I hope we get an actually complete release some day!)

 

 

Mark Mancina - Twister

 

A long time favorite of mine that I hadn't heard in a while, and listened to yesterday and kind of fell in love with it all over again.  It explodes with memorable themes and exciting action music, and even features some nice emotional cues that I never noticed before as being a bit of a cousin to the emotional music in Speed 2 one year later.  Great stuff here!  The complete presentation by Mike & Neil is just terrific.

[filmmusic 2,897]

 

 

Wow! This is marvelous!

Has anyone heard this composer before?

[Holko 11,855]

So I was doing one of those days where I look through some composers' work looking for new stuff, just scrolling through Tidal, selecting albums that sound interesting. That's how I came across Patton (the old FSM) which I've actually never heard before. I fell in love with the march immediately and I liked the structure too, the score is short enough that the first half of denial building up to make the glorious second half renditions all the sweeter works really well. Then I looked into the release history and checked the Intrada samples out... holy fuck the sound quality difference is night and day. They went to London to record it much better and have no reuse fees to deal with, Jerry way preferred it... and then they proceeded to never fucking release it on CD until the Intrada? What the hell???? It's still not streaming or anything! The two recordings easily fit on one disc, why wasn't it on the FSM??? Some of this release and earlier expansion business is just completely mindboggling to me. Well anyway, Intermezzo had one copy of it in stock so I grabbed it in my latest batch. Nice little score with some additional gems in the moody cues between the Marches, like the organ, Grail Knights theme or the german march which to me somehow gives much more russian vibes.

 

 

In the end, my "edit" consists of the main film score program, with every cue replaced with the OST version, Pensive Patton moved to the start of An Eloquent Man to break that section up a bit and remove the repetition from the end (also because that's the only remaining film recording in there), Winter March added between The Funeral and The Hospital to break that half up a bit, Patton Salute removed (just not feeling it), and Main Title being a combination of the two versions (OST from when the flute starts until the flute stops, film before and after because the low drum of the OST's opening is weirdly clicky/blowing out and the trumpet echoes at the end also seem wrongly placed to me, not starting on the right beats (and the film one has more stuff at the end), also I added a trumpet echo to the brief bridge in the middle of the OST version to replicate the film and to help cover up the additional AI-assisted editing done to help with that percussion hit right after that feels like it's too early). The switch in sound quality in the first half is usually really not too noticeable, and some light noise reduction here and there helped too, especially in the combined Main Title to help gel the two recordings together better.

[Jay 44,745]

Joe Kraemer - Mission Impossible 5

 

Damn, what a great score.  I can't believe it will be a decade old next year, and Kraemer doesn't have a few more summer blockusters, a Star Wars tv series, and a prestige drama or two on his resume by now.  Hollywood let us all down here.  This score is brimming with ideas, amazing thematic development, and fresh and exciting action music.  The scores he could have given to MI6 and 7 probably would have been just as good.  I wonder if we'll get a 2-CD complete edition next year (it was not recorded in the USA)

[Tallguy 6,634]

I don't hate the Balfe scores but they're not really in the same league. Rogue Nation is so good.

[Edmilson 11,430]

The best M: I score, tied with Elfman's original from 1996. Both of them are leagues ahead the others.

[LSH 1,098]

I saved it for tonight. Personal reasons.

 

My favourite score ever. I’m crying man.

 

The finale cue (Splashdown, etc) is my emotional nemesis. Swear down. Turns me into blancmange.

[Marian Schedenig 11,162]

21 minutes ago, LSH said:

The finale cue (Splashdown, etc) is my emotional nemesis. Swear down. Turns me into blancmange.

 

Angus Podgorny, what do you mean?

[Tom Guernsey 3,485]

While I wouldn't want to presume what someone else might think, I kinda think Doug Fake would be quite happy for me to blast this one out in his memory. RIP Doug and RIP Basil.

 

[Edmilson 11,430]

Some scores I've listened over the past few days:

 

John Williams - The Sugarland Express

 

 

While this is a historic release and it's great that one of Williams' most unknown scores is getting such a great release... I don't think the music is all that interesting? It has an amazingly wistful main theme for harmonica, but aside from it it's your typical 70s thriller scoring with sparse suspense music for drums and strings. Kinda like an Ennio Morricone score for a police thriller or something from the time. 

 

Still, the main theme is wonderful (it quickly rose to the ranking of JW's most underrated themes) and the climatic track Final Ride is great, with an emotional and epic crescendo. 

 

It's not exactly a classic on the same level as Jaws or Close Encounters, but it's nice to have the beginning from where all these classics came from.

 

Hans Zimmer - Backdraft

 

 

While it has hints of the Zimmer from The Lion King, Crimson Tide and The Rock, this is pretty much its own thing. A great uplifting score with some nice textures for synth and orchestra. 

 

Hans Zimmer - The Thin Red Line (2019 Expansion)

 

 

This could be very well Zimmer's masterpiece. Not my favorite score from him (that would be The Last Samurai) but in terms of what he achieved, the power of his music alongside Terrence Malick's poetic masterpiece, this is perhaps his greatest work. 

 

Malick might be my favorite arthouse filmmaker. I love his style, especially when it is combined with the music of a great composer like Morricone, Horner, JNH, Desplat or, in this case, Zimmer. The german's music is atmospheric, reflective, like it was inspired by the sounds of nature. 

 

A masterpiece, and the 2019 edition, while it doesn't include every second from the hours and hours of music HZ wrote for this, has great listening experience, much better than the numerous bootlegs out there.

[GerateWohl 6,362]

On 19/07/2024 at 7:44 PM, Edmilson said:

The best M: I score, tied with Elfman's original from 1996. Both of them are leagues ahead the others.

Agree. That's why I have exactly just these two on album. 

[Jurassic Shark 15,912]

2 hours ago, GerateWohl said:

Agree. That's why I have exactly just these two on album. 

 

Ditto.

[Tom Guernsey 3,485]

I can’t believe it’s been 20 years since Jerry died… which made me realise that he’s been dead for twice as long as the time I was a fan while he was still with us. Which is kinda depressing. Anyway… his music lives on so figured I’d give this a spin. Slightly variable performances, but a decent selection even if you’re never going to cover the gamut of his output in one night at the symphony. Just wish it had been for an actual 80th birthday concert with him at the podium. Here’s to you Jerry… we miss your music, your cranky genius and your genre defining ponytail.
 

[Tallguy 6,634]

2 hours ago, Tom Guernsey said:

I can’t believe it’s been 20 years since Jerry died…

 

Great minds, I suppose.

 

2 hours ago, Tom Guernsey said:

which made me realise that he’s been dead for twice as long as the time I was a fan while he was still with us.

 

Hmmm. If I count "fan" as 1979 with Star Trek and not anything like Logan's Run (that I was aware of but had no idea what the music was) then I've got... Another five years? (Math at this hour of the morning is problematic.)

 

Anyway, I just listened to Hour of the Gun.

 

I think next will be Hoosiers.

[Marian Schedenig 11,162]

Ending my Goldsmith day with a replay of this (I already played it earlier in the day):

 

It's long been one of my favourite Goldsmith tracks, but ever since I discovered those three sublimely elegant 5 timpani hits at 0:56, I like it even more. You'd never think "sublimely elegant" would apply to anything in this zany track.

[filmmusic 2,897]

Decided to continue my Goldsmith marathon of all the scores he has ever composed, influenced by your posts and the anniversary of his death.

 

 

Sometimes I have the notion that Goldsmith writes better action music than Williams. Do you?

I mean in Williams there are so many notes, flourishes etc. etc., while Goldsmith's action music is more to the point.

I don't know. Maybe it's the films for which he has written. 

[Tallguy 6,634]

So this was my day:

 

Hour of the Gun

Hoosiers

Rudy

The Shadow

Star Trek: The Motion Picture (LP)

Innerspace

Star Trek: Insurrection

 

It was a very nice day.

[Thor 9,334]

 

The only Cannon score I've connected to. Bleak listening, but then it's a rainy day.

[Tom Guernsey 3,485]

Nice... I went for a nice random selection:

 

Hoosiers (inspired by @Tallguy) - great score even if it does maybe get a touch repetitive in its use of the main theme by the end, but a minor complaint.

Islands in the Stream - prior to Rudy, apparently Jerry's personal favourite and it really is a wonderful score. Not one that I necessarily remember in detail but always love when I listen. Decided to go through the 1980s recording which Doug Fake produced. Seemed an appropriate way to celebrate them both.

Papillon - one of my favourite Jerry scores and a perfect antidote to those who think he's all sci-fi, horror and action. He really did do that kind of Debussy/Ravel stuff wonderfully.

Masada - I'm always struck by how propulsive the main theme is; I've never seen the series but I'm assuming it works brilliantly in context. A shame he didn't get to score the second half but Morton Stevens' contributions are excellent.

City Hall - Think I've come round to the idea of this as a better overall effort than LA Confidential. True it doesn't have the striking set piece of Bloody Christmas, but it's a more consistently engaging listen.

40 Years of Jerry - The original 2CD selection on Silva (the one themed around The Omen) was one of the first Silva compilations outside of their John Barry ones that most people seemed to rate. It was certainly a lot better than those early JW ones which feature some atrocious playing at times (fortunately the rare/unreleased stuff like Black Sunday and The Rare Breed was done pretty well). While in retrospect it still has some issues, barely touching on some of his output (his western scores in particular get only a cursory look-in) and the performances are a bit variable - the recordings taken from the old Philharmonia compilation conducted by Jerry himself are much better performed and recorded - it's still a good fine summary of his career.

[Thor 9,334]

 

Such a lovely score -- the only one I have by Gross -- downkey, somewhat jazzy, reflective and ripe with Americana.

[filmmusic 2,897]

 

An all-synth score. Didn't care for it at all...

(Didn't expect to say this ever for a Goldsmith score)

[Marian Schedenig 11,162]

5 hours ago, filmmusic said:

Sometimes I have the notion that Goldsmith writes better action music than Williams. Do you?

I mean in Williams there are so many notes, flourishes etc. etc., while Goldsmith's action music is more to the point.

 

Even though he wasn't always happy about it, Goldsmith was (among other things) much more of an action composer than Williams. Their action styles are generally very different, but one key difference is that with Williams (up to about 2000 at least), it's usually a ballet (usually an adventure ballet), whereas Goldsmith goes straight to the rhythmic core. His odd and changing metres help with that and allow him to keep focused on the action for minutes on end if necessary (the sustained tension in cues like End of a Dream is unmatched).

 

I feel like the closest Williams has gotten to that kind of an action set piece is Escape from Naboo. And that's still more on the jazzy side than Goldsmith's action scoring.

[Thor 9,334]

17 minutes ago, Marian Schedenig said:

it's usually a ballet (usually an adventure ballet), whereas Goldsmith goes straight to the rhythmic core.

 

That's a good way of putting it.

[filmmusic 2,897]

 

 

There is something to like in each of these Goldsmith scores.

All-synth the unused score to Alien Nation (I wouldn't imagine that Goldsmith had a rejected score) and orchestral score the second.

I didn't remember that in the former the composer had used the Russia House love theme. Cool! (and I didn't know it was the second time used after the unused score to Wall Street)

[The Score Cleaner 9,265]

44 minutes ago, Marian Schedenig said:

 

I feel like the closest Williams has gotten to that kind of an action set piece is Escape from Naboo. And that's still more on the jazzy side than Goldsmith's action scoring.

I mean, it kinda ripped of King Solomon's Mines...

[Thor 9,334]

 

I spun this a LOT when it came out in 2011. So much I almost tired of it. But it's such a brilliant, funky, moody score. Shame The Chemical Brothers don't do more scores.

[thestat 497]

Echoing Jay's comments on Starship Troopers - it is such a fantastic Verhoeven score, both fascistic and anti-fascist in its very humanitarian language. In any case, love the weird balletic dance-like qualities Basil brought to for example this piece of action malarkey:

 

 

[Tom Guernsey 3,485]

3 hours ago, Marian Schedenig said:

 

Even though he wasn't always happy about it, Goldsmith was (among other things) much more of an action composer than Williams. Their action styles are generally very different, but one key difference is that with Williams (up to about 2000 at least), it's usually a ballet (usually an adventure ballet), whereas Goldsmith goes straight to the rhythmic core. His odd and changing metres help with that and allow him to keep focused on the action for minutes on end if necessary (the sustained tension in cues like End of a Dream is unmatched).

I feel like this is a slightly sacrilegious thing to say as a huge Jerry fan, but Jerry's action is more much more obviously film music whereas JW's action music functions better as pure music outside the film, especially in his late 70s/80s style where his action cues are very much musical set pieces. As you say, it's much closer to ballet whereas Jerry's action writing drives things forward with its energy and off kilter rhythms; nothing like 5/4 or 7/8 time signatures that feel like they are skipping a beat to drive the anticipation.

 

3 hours ago, Marian Schedenig said:

I feel like the closest Williams has gotten to that kind of an action set piece is Escape from Naboo. And that's still more on the jazzy side than Goldsmith's action scoring.

Apologies if I'm being dim, but are you referring to Panaka and the Queen's Protectors? Or is this another track entirely? I would have said something like The Sith Spacecraft and the Droid Battle was closer, although for proper Jerry style action writing by JW, I'd probably tend to think of something more like Anderton's Great Escape from Minority Report.

 

3 hours ago, The Great Gonzales said:

I mean, it kinda ripped of King Solomon's Mines...

It did?! Would appreciate some direction on which tracks we're comparing here...

[Edmilson 11,430]

5 minutes ago, Tom Guernsey said:

Apologies if I'm being dim, but are you referring to Panaka and the Queen's Protectors? Or is this another track entirely?

Escape from Naboo is the name this cue received on the 2000 Ultimate Edition:

 

 

I don't know which name this cue had on the 1999 OST, or even if it was there at all, because honestly... I don't think I ever heard the 99 OST lol

[thestat 497]

Talking all things JG, the 'sustained tension in cues like End of a Dream' made neo-acolytes of Rand like Dan Hobgood claim that JG was 'objectively' better than JW - those were the days! How innocent we were back in the late 1990s and early 2000s.

 

Anyways, love the Eckhart Seeber score - sad that he did not break out.....

 

For Tom - yeah, I guess, but JG, at least to me, had more of a sustained sense to his action set pieces than JW. JW's action music may be balletic but it's much more 'incidental' than JG's, I would argue. Again, periods matter etc. But :

 

[EDIT: Oh, totally made Tom's point here! Apologies. At the same time, what is more 'film music' like Duel of the Fates or End of the Dream? ]

 

[The Score Cleaner 9,265]

35 minutes ago, Tom Guernsey said:

I feel like this is a slightly sacrilegious thing to say as a huge Jerry fan, but Jerry's action is more much more obviously film music whereas JW's action music functions better as pure music outside the film, especially in his late 70s/80s style where his action cues are very much musical set pieces. As you say, it's much closer to ballet whereas Jerry's action writing drives things forward with its energy and off kilter rhythms; nothing like 5/4 or 7/8 time signatures that feel like they are skipping a beat to drive the anticipation.

 

Apologies if I'm being dim, but are you referring to Panaka and the Queen's Protectors? Or is this another track entirely? I would have said something like The Sith Spacecraft and the Droid Battle was closer, although for proper Jerry style action writing by JW, I'd probably tend to think of something more like Anderton's Great Escape from Minority Report.

 

It did?! Would appreciate some direction on which tracks we're comparing here...

The track Ed referred to, and stuff like "Forced Flight"

28 minutes ago, Edmilson said:

 

I don't know which name this cue had on the 1999 OST, or even if it was there at all, because honestly... I don't think I ever heard the 99 OST lol

It's the infamous Qui-Gon's Noble end LOL.

[Not Mr. Big 4,921]

Might be the JW fanboy in me but I've always preferred his action style to JGs, particularly from 90s on where every JG action track started to sound the same.

 

Due to prioritizing the changing meters, the melodic content in particular often ends up feeling a little canned.  Short melodic fragment on horns (usually with a syncopated triple feel) held over trumpet/xylophone hits.  I also feel like despite having more straight laced time signatures, JW goes ape more (particularly his 2000s era style with AOTC and Anderton's Great Escape)

[Edmilson 11,430]

Hans Zimmer - Inception (recording sessions)

 

The bootleg offers about 2 hours of some nice dark & disturbing™ ambient music. Cool textures for synth mixing with the orchestra. The OST was fine but it was only 45 minutes  so if you want to and are able to listen to more of this kind of ambient atmospheric stuff the RS is a pretty good option.

[Thor 9,334]

 

This great symphonic score made waves in 2019, including an IFMCA nomination, if memory serves. Some people said it had Shostakovich DNA in it; could be, I'm not familiar enough with ol' Shosty to validate. Been following Zirngibl since, but not yet found anything on this level.

 

On to...:

 

 

This remains my favourite Beck score to this day. Soft, cautious, capturing childlike wonder. Glockenspiel, piano and playful strings. Beck himself liked it when I mentioned this as my fav over the more famous ones, so I think it means something special to him too.

[filmmusic 2,897]

 

Romantic minimalism. Nice.

[Marian Schedenig 11,162]

14 hours ago, thestat said:

For Tom - yeah, I guess, but JG, at least to me, had more of a sustained sense to his action set pieces than JW. JW's action music may be balletic but it's much more 'incidental' than JG's, I would argue.

 

Perhaps in being "inherently more film music", Goldsmith's action cues gain something on the music structure side because they're structured consistently/consequently (even if that structure is derived from the film), whereas Williams is maybe sometimes less focused and uses more flourishes, making him *less* focused both in the context of the film and the music. Which is ultimately a matter of taste, but to people complaining that Williams does too much mickey mousing and that film music can't stand on its own, Goldsmith's more direct film action structure might perhaps seem more "serious" and (ironically) less background-y.

[GerateWohl 6,362]

14 minutes ago, Marian Schedenig said:

Perhaps in being "inherently more film music", Goldsmith's action cues gain something on the music structure side because they're structured consistently/consequently (even if that structure is derived from the film), whereas Williams is maybe sometimes less focused and uses more flourishes, making him *less* focused both in the context of the film and the music. Which is ultimately a matter of taste, but to people complaining that Williams does too much mickey mousing and that film music can't stand on its own, Goldsmith's more direct film action structure might perhaps seem more "serious" and (ironically) less background-y.

I see absolutely no evidence for anything you write in the music I know from both composers.

 

Any concrete examples of Williams being unfocussed, inconsistent, unstructured and inconsequently on the context of the movie and the music compared to Goldsmith?

And a typical example where Goldsmith gains more on the music structure?

We are talking about action music, right?

 

[Jurassic Shark 15,912]

5 minutes ago, GerateWohl said:

Any concrete examples of Williams being unfocussed, inconsistent, unstructured

 

Stepmom.

[Naïve Old Fart 12,506]

8 minutes ago, GerateWohl said:

Any concrete examples of Williams being unfocussed, inconsistent, unstructured...

 

IMAGES... but it's meant to be that way, to reflect Susannah York's state of mind.

[Marian Schedenig 11,162]

31 minutes ago, GerateWohl said:

Any concrete examples of Williams being unfocussed, inconsistent, unstructured and inconsequently on the context of the movie and the music compared to Goldsmith?

And a typical example where Goldsmith gains more on the music structure?

We are talking about action music, right?

 

I'm talking about Williams turning his action scenes into musical set pieces, with interruptions by various themes, some mickey mousing, and sometimes extensive (excessive, according to some) xylophone inserts. He does it of course to make it stand on its own more, but it could also be viewed as excessive, as over mickey moused (sometimes mickey mousing is just scoring some aspect vs not scoring it - it gives you more musical content, but it's often criticised just for being there). Whereas Goldsmith's typically (especially in later years) leaner, non-nonsense approach generally isn't that. Some people criticise one approach, some the other. I like both.

[GerateWohl 6,362]

1 hour ago, Jurassic Shark said:

Stepmom.

 

1 hour ago, Naïve Old Fart said:

IMAGES... but it's meant to be that way, to reflect Susannah York's state of mind.

 

I agree, Williams writing for the action scenes in the two action movies is not at its best.

 

1 hour ago, Marian Schedenig said:

I'm talking about Williams turning his action scenes into musical set pieces, with interruptions by various themes, some mickey mousing, and sometimes extensive (excessive, according to some) xylophone inserts. He does it of course to make it stand on its own more, but it could also be viewed as excessive, as over mickey moused (sometimes mickey mousing is just scoring some aspect vs not scoring it - it gives you more musical content, but it's often criticised just for being there). Whereas Goldsmith's typically (especially in later years) leaner, non-nonsense approach generally isn't that. Some people criticise one approach, some the other. I like both.

 

I hear what you are saying. But I wouldn't call that really a Williams trademark. Typical example for what you describe would be for me The Ultimate War from Hook which rather sounds like a medley of the movies theme's than an action sequence. On the other hand something like the before mentioned Anderton Escapes does not match that description at all and is in my view musically a better action piece than anything, that I know from Goldsmith.

We could maybe agree, that both, Williams and Goldsmith got better in this discipline over time.

 

Even though, if I look at the so called action set pieces like The Battle of Hoth, The Desert Chase or The Last Battle from Star Wars then I must say, that to this day, these kinds of setpieces from Williams were the reason for me to become a film music fan. Not some noisy how you call it "straight to the point" action pieces that Goldsmith wrote with his typical "writing action music is a dirty job but someone has to do it" attitude.

 

Best in this context is for me the comparison between Williams' Superman and Goldsmith's Supergirl. What you are praising in Goldsmith action music is for me the reason, why his music apart from the screen often makes no sense.

 

 

[Marian Schedenig 11,162]

6 hours ago, GerateWohl said:

On the other hand something like the before mentioned Anderton Escapes does not match that description at all

 

No, post 2000 Williams adapted his underscore style significantly to fit the changing demands on modern non-adventure films. Still, I think 90s Goldsmith would stand a better chance of successfully scoring a random 2024 action thriller than current day Williams.

 

6 hours ago, GerateWohl said:

and is in my view musically a better action piece than anything, that I know from Goldsmith.

 

You won't get a statement like that from me. Personally, I still think Goldsmith is the action king. Escape from Naboo is probably Williams's strongest challenge for him in that area, and one of the most amazing things he's written.

 

6 hours ago, GerateWohl said:

We could maybe agree, that both, Williams and Goldsmith got better in this discipline over time.

 

Better? Both changed their styles significantly, no doubt. With Williams, I think his craftsmanship has been steadily improving over the decades, to the point where he can probably rival the greatest craftsmen in music history.

 

Goldsmith started out as a super complex avantgarde composer (vs the then generally much more "traditional" Williams) and in his later years developed his new, much more streamlined style. Less complex altogether, if more precise.

 

6 hours ago, GerateWohl said:

Even though, if I look at the so called action set pieces like The Battle of Hoth, The Desert Chase or The Last Battle from Star Wars then I must say, that to this day, these kinds of setpieces from Williams were the reason for me to become a film music fan.

 

Same here, and for those kinds of things, Williams is still my favourite. To me they're more "adventure" than "action" though. For straightforward action, Baby/Rambo 2/Total Recall remains the holy triptych.

[filmmusic 2,897]

 

Love this score! And I love that there is a thematic characterization, something that is missing from today's soundtracks.

[Thor 9,334]

 

Don't mind me breaking up the Goldsmith fest! This is one of my favourite Franke scores. Not for everyone - plenty of el guitars and more pop/rock licks than Tangerine Dream sequencers, but enormously entertaining, funky and melodic. And VERY 90s.