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Yeah. Better that than LOONEY TUNES: BACK IN ACTION.

The expanded version is a must get. I'm not a huge Goldsmith fan, but the original release feels completely lacking in comparison.

NP : ALIENS - James Horner



As D used to say "no comment".

Speaking as the world's biggest Jerry Goldsmith fan (perhaps), I am very glad to have it. Whether it adds that much to the old album is questionable, though - while it is, I think, a more rounded and satisfying listening experience now, the highlights were certainly already there, and if you weren't tempted to listen often to the older album then I can't imagine you would do to the new one (it makes a good album slightly better, it isn't a step change or anything).

I would too. He is terribly missed.

Finished PoP. The novelty of the sound wore off as it continued and nothing ever really grabbed my attention. I'll give it another listen or two, but I was pretty bored of it by the end.

Moving on to my first listen of X-Men: First Class - Henry Jackman.

I'm listening to yet another compilation of Silva this one called British TV themes. Some of these programs are completely foreign to me and frankly they're pretty silly. I might have some questions later on.
Tom

I'm sad to not agree

I think it's a really boring score. but what it's worst: it doesn't devolop any of the ideas Desplat introduced in part I (wich I didn't enjoy either but at least it was more complex). it is a couple of moments put together. of course, there are some good action stuff and other some epic statements ("statues") but that's it.

Did anyone notice the "why so serious" and "vespertillO" temp tracks in the movie? This Batman begins /the Dark Knight over use in the temp tracks is really killing the composers.

NP: Mermaids from Stranger Tides.

An amazing track. One of the highlights in Zimmer's career. I'm happy that Zimmer used this fantastic motif from AWE.

LOVED IT! ( yeah yeah I know )

Very Bond'ish, somewhere between A View To A Kill and The Living Daylights with the odd touch of Out of Africa etc, it's John Barry and it does what it says on the label ( metaphorically ), some nice touches of wordless choral and even an electric sitar in some tracks, I casn't wait to hear it again.

Sooner or later I'll get around to giving the Michel Colombier disc a spin, I liked his score on the old LP, getting this set is a WIN WIN situation for me.

esily THE BEST RELEASE THIS YEAR. IM(not humble at all)O

I've been listening to superhero scores this morning.

X-MEN: FIRST CLASS - Henry Jackman.

A giant steaming pile of meh.

THOR - Patrick Doyle

The middle chunk is a little boring, but there are 6 or 7 good tracks at the end. I think I could program out tracks 4-16 and not miss much. The rest would make a reasonably entertaining (though short) album. I think Doyle was a little unfairly maligned for this score though. Sure it sounds RC-ish, but it's better than what that group typically puts out. I have a feeling that if one of the RC minions wrote this we'd all be rather impressed, but since it comes from Doyle we're all disappointed.

BATMAN - Danny Elfman

I just finished my first listen to this score on CD, ever. Of course I've heard it in context, but that has been a while ago now. I listend to the old album, not the recently expanded one. It's got a lot of Elfman's old zany style in it, which I'm not a huge fan of, but it's got a classic theme and the last 30 seconds or so of the track "Finale" is my favorite superhero movie music moment ever! I love that pan up the huge building while the music gets bigger and bigger....What a moment! That still gives me chills. Unlike the other two scores, at least something is constantly happening in this music. Give me zany music I don't particularly enjoy over aimless droning I don't even notice.

NP: AMISTAD (John Williams)

Nice score. Although the reverent Americana towards the end work better on album than in the film, where it's a bit over-wrought.

I've been enjoying the main theme of her score for Never Let Me Go a bit this past week. (Purchased on itunes.)

Cripes! Isn't it ever!!! A rare missfire from Williams in that regard.

I'm just finishing up Jeff Danna's very impressive score to THE GOSPEL OF JOHN. I'm on the wonderful last track now, "Follow Me." What a knockout piece! Gorgeous stuff.

True. But it's an interesting scene nonetheless that I've actually used as assignment in a "media rhetorics" course I held a couple of years ago. The students were to find the rhetorical strategies within the Hopkins/John Adams speech itself, but also pay attention to other means that were more audiovisual in nature (I didn't say what, but they found out on their own....music, mannerisms, camera movement etc.).