Intrada Soundtrack Forum

Going back and listening to Capricorn One or Raiders of the Lost Ark is probably not unusual, but I find one album I keep getting drawn back to rather strange: George Fenton's Final Analysis. It's the only Fenton album I own (I used to have many more, but that was a different time). I do like a good suspense, thriller score, and this one just seems to hit the right nerve. Perhaps it's the driving rhythm of the main title, or the Herrmann-infused style of some of the cues. Perhaps it's the sublime impressionistic style of other pieces. Something compels me to listen to this score...and it goes great when I'm readying a thriller.

Wow, Roger - only one Fenton record? Come on! Where's Mary Reilly, White Palace, The Crucible?

I think I understand where you're coming from, though. I feel the same way for several albums, as well. James Newton Howard's atmospheric score to Intersection always gets a lot of plays from me, even though it's not an over-all fantastic orchestration. A lot of his work around that time (early 90s) was always fitting to the screen but often a hard listen on their own - think of things like Falling Down or Flatliners.

Another score that continues to latch onto my psyche is Howard Shore's wacky score to Ed Wood - likely due to the fact that it's such a love letter to old Hollywood scores and films. I relish in all the oddball instrumentation Shore used for the score. And I was very happy to see Burton employ a composer outside of Danny Elfman for a change, even if it was just due to a scheduling conflict.

Also, while speaking of Shore, am I the only one who really enjoys listening to The Game and all its piano plucking? It's a rich and atmospheric score on its own, one of which can be a very long and hard listen outside the picture, but one that I love to throw on ... probably way too often; but again, it's not what I'd call a great composition. I just really respond to its melancholy.

It's not obscure, but one odd album I keep coming back to is Lalo Schifrin's score for The Osterman Weekend. Many Schifrin aficionados likely consider it as rubbish in his overall output.

There are some very catchy jazz tunes, as well as tracks with neat use of synths. The main theme on the album is addicting.

Very interesting topic.

For some reason, I keep coming back to Sneakers. It's perfect "Doing homework on a rainy night" music, at least for me. I can't explain it.

Also: The Haunting. Like many films Jerry scored in the 90s, the music is arguably the best thing about it.

Yeah... Horner and Goldsmith... I don't think this answer qualifies.

Hmmm...

Here are the ten titles for this topic (in no particular order)... (awesome topic Roger)...

THE BIG SLEEP
Jerry Fielding

BLACK WIDOW
Michael Small

BODY HEAT
John Barry

THE FURY
John Williams

RETURN TO EDEN
Brian May

HARLEQUIN
Brian May

SURVIVOR
Brian May

AIR FORCE ONE
Jerry Goldsmith

KRULL
James Horner

CLEAR AND PRESENT DANGER
James Horner

For various reasons, I have played this above list more than any other over the years. No idea as to why.

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Another awesome year with Intrada... 2012

The Temp - Frederic Talgorn

The Machinist - Roque Banos

Bed & Breakfast - David Shire

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I listen to Moon 44 quite often, don't know exactly why.

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Don't ruin your life searching for success. Simply do what you feel like doing. Time is not money. Time is life and life has no price.

Just 3 examples out of dozens !

Rookie of the Year (Bill Conti)
It's just pure and sincere energy, I love that little score !

Rescuers Down Under (Bruce Broughton)
In my opinion certainly the best orchestral score ever written for a Disney animated movie. Sometimes I just feel I have to put the CD. I just need it.

Bad Girls (Jerry Goldsmith)
I don't understand why but that relatively unknown score is my favorite western score from Goldsmith. I love the main theme, I love the action cues.

This topic is really interesting. It seems like we are attracted to a certain title because we feel close to this particular title, sometimes even without knowing why. It's pure attraction. Maybe those scores really define us ! That's profound.

I never seem to get tired of Mario Millo's THE LIGHT HORSEMEN. I always wonder, before I put in on, if I wont get goosebumps this time around, but, inevitably, I always do.



~ Oz

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I-love-Goldsmith, yes-I-do...
I-love-Ber-nard-Herr-mann-too! EVERYBODY SING!!!

I keep coming back to a lot of scores (lately Tron, Hancock and the Bourne trilogy) but the most unusual ones would be Jeff Rona's Earthsea, Robert Folk's Lawnmower man 2 and Graeme Revell Chronicles of Riddick

There are 3 that I keep coming back to:
Tyler Bates Doomsday score...it is not groundbreaking or anything like that, but by golly I just enjoy the heck out of it.
John Frizzell's Whiteout. Again, not groundbreaking, but it is one of my favorites.
Trevor Jones Cliffhanger. I had the original CD since the movie came out, and I honestly don't think I listened to it more than a few times. Since Intrada released the complete score...I keep going back to listen to it again and again. Love it.

As for Fenton, I go back to the well over and over to listen to MARY REILLY and THE CRUCIBLE. In fact, I practically never put a recording on repeat, but I always have to hear the final end title "Resolution: Forgive Us" from THE CRUCIBLE two or three times.

Other less appreciated ones that have ended up taking residence in my head unexpectedly, where I listen to them again and again through the years:

JACOB'S LADDER or THE MOSQUITO COAST (Jarre)
WOLF or MISSION TO MARS (Morricone)
LEVIATHAN or THE 'BURBS or THE SWARM (Goldsmith)
PRESUMED INNOCENT or SLEEPERS (Williams)
HOWARDS END (Robbins)
THE WHISPERERS (Barry)
SPHERE (Goldenthal)
IRIS or HOUSE OF SAND AND FOG or THE NAME OF THE ROSE (Horner)
BEFORE AND AFTER or CRASH or EXISTENZ (Shore)

So many others. But these are among my reliable "go-to" recordings, maybe not such obvious choices, yet ones that I have heard literally hundreds of times but somehow never get old.

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Randy Wilson
Dallas, TX