[Closed] Now Playing XLVI

*Cough....cough* Half-a-dozen???? That's it?!

Alright... what HAVE you heard, Edmund?

-Erik-

Do you have any interest in exploring any of my radio shows that feature Goldsmith's music or would you rather a gigantic list of scores that you NEED to listen to and just sample them on Spotify?

-Erik-

I might set some time aside and listen to your radio shows. I have this weird thing about "spoiling" scores though - when I first listen to a score, I want to hear the whole thing "fresh" (which is also why I avoid samples whenever I can). I also like to do composer marathons, so when I want to really acquaint myself with a composer, I get a ton of their stuff and listen to it chronologically. That's what I would want to do with Goldsmith.

I do know pretty much what the priorities would be, so I don't think I'd need a list (plus, from what I hear, it's hard to really go wrong with Goldsmith). But if I were to start with, say, five, what would you say to Star Trek: The Motion Picture, The Final Conflict, First Knight, The Blue Max and perhaps The Wind and the Lion?

Alien
First Knight
Lionheart
Masada (re-recording)
The Omen I-III
Papillon
Poltergeist
QB VII
Total Recall
Star Trek 1&5

I'd like to humbly force on you.

Volker

SALAMANDEEEEEEEEEEERRRRRRRRRR

Thanks for recommending The Blue Max, Thor. If you find it annoying it's bound to be excellent.

Just stick with the five you mentioned above and then come back for five more suggestions.

-Erik-

That score was never commercially released, was it? Someone should get on that - it's incredible! Proof that Powell should be scoring real Bond movies.

But the Bourne scores are stylistically very different to the Bond musical universe. I want to hear a Powell Bond score that takes the sound of "Hog Chase Part 2" from Paycheck and runs with it for the entire film.

NP : GRAND PIANO - Victor Reyes



I agree with D and Erik, this is bloody outstanding.

Glad you liked it dear Tim, this was a huge surprise in 2013! Great score, very eager to hear his future works. 'Buried', his breakthrough score, although good, didn't hint that this would follow.

It is. Of course, there's a lot of pastiche in it (Rach, mostly), but as you say it's a wonderfully "full" piece.

My early favourite of the year so far.

Yeah, I posted similar thoughts that score recently. It's frustrating because I don't know exactly what to fault - technically it's all fine - but for whatever reason, my interest in new scores by him has diminished to almost nothing over the last couple years. Couldn't for the life of me tell you why.

As for "aiming higher" - well, I think that modern-day animated movies are usually a much more fertile ground for composers than modern-day action movies, and their scores have generally been much more enjoyable. So I don't fault Elfman for trying his hand at it. But it doesn't seem like he's the greatest match.