What are you listening to now?
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Bought this to listen to Michael Masser, the composer of the mysterious Love Theme from THE MAN WITH ONE RED SHOE.
Mostly very sappy/pretty 70s strings melodies here, as expected. Masser only did two film scores, this and THE GREATEST in 1977.
Was just listening to James Horner’s For Greater Glory – and oh wow, what a stunner that one is! I’m just blown away by him sometimes.
No doubt one of John Barry’s all time great scores — perhaps his greatest score ever — and it shines in this Silva Screen recording. (I have the original soundtrack recording as well, but tonight it was this.)
Very cool score by Lai, mixing ethnic African elements with laidback lounge, psychedelia, jazz and symphonic excursions. Some early synths too. Thankfully, Music Box premiered this 1974 score in 2012.
Nathan Barr was just “a horror guy” to me until he suddenly delivered this funky synth score in 2021, as well as his….well, great music for the series THE GREAT around the same time. Good stuff!
Chris Franke wrote some fine Berlin School themes for this film about Halston in 2010:
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You need to use the actual site, the mobile subdomain “m.soundcloud.com” does not work. I just fixed it.
I love John Cacavas’ two AIRPORT movie scores.
AIRPORT 1975 is instantly recognizable as 70s film score, it’s got an instantly recognizable theme, classy and elegant, that would be at home as theme for a 70s Arthur Hailey prestige TV series. Some rhythmic, always tonal, dramatic “rescue action” cues with echoplexd obstinatos, very well put together. I think I might like AIRPORT 77 even more, but that on is a more experimental and suspenseful score. This one is just a wonderful 70s disaster film score.Maybe I take this as a starting point to listen through the other Airport scores.
After a longer time I listened again to this and must say, I like it much better than the first time. The concerto in three movement sounds rather like a Danny Elfman composition than Chris Young, but listening to it without expectation and not as an actual flute concerto makes it much more enjoyable to me. The score suite on the other hand is ok, but I am not a huge fan of these sound effects. They rather remind me of that awful movie. It might have been the worst horror movie I had watched in the past 20 years. The score couldn’t prevent it.
I love John Cacavas’ two AIRPORT movie scores.
I love these and Schifrin’s on the 2CD Lalaland set as well. I always fall for these types of 70s score.
After a longer time I listened again to this and must say, I like it much better than the first time.
Still have listening to THE PIPER on my list as the public library has it for streaming but didn’t get around yet… And I didn’t see the movie so blank canvas on that.
I love John Cacavas’ two AIRPORT movie scores.
So do I! The 70s were just a great time for music (in general).
Music by Kjetil Bjerkestrand and Magne Furuholmen.
1997.
Some great moments where I feel I’m back in the 90s, but also lots of experimental stuff. Probably cathartic for Furuholmen in a period when A-ha was put on ice. Vocals by Freddie Wadling.
I’ve been really enjoying Dreamer by John Debney today. Really a lovely score. I think John Debney is an underrated composer. He can write some really great stuff! What are some of your favorite John Debney scores?Debney is for sure a great craftsman but lacks a bit personality at times. First notice him via his SEAQUESt TV theme I think. Some favorites of from memory are the game score LAIR (thick orchestra), THE RELIC or HOCUS POCUS.
I don’t have DREAMER myself. I’ll seek that out, thanks, Cailin. Debney is a good pastiche composer, although not terribly original most of the time. I don’t have my Debney collection available at the moment, due to my computer crash, but we can do a thread on him later, when I’m all sorted out.
Debney as a composer and a dedicated musical voice is completely out of my radar. I own just two albums related to him.
The rerecording of Williams’ SUPERMAN conducted by Debney and a bootleg of Randy Newman’s rejected score for AIRFORCE ONE containing the Debney contributions as well.
I never understood the fuzz about CUTTHROAT ISLAND. Not my melodies.I like Christopher Young’s THE PIPER, that’s a very fine album. Yes, the movie was just — excuse the word — “lame”. In theory, this could have been a nice creepy horror thriller (the pied piper is actually a very interesting horror figure which hasn’t been overused yet), but the movie just never came together. This was one of Julian Sands last film roles before his deadly accident.
I never understood the fuzz about CUTTHROAT ISLAND. Not my melodies.
I find that score actually quite entertaining even if it’s all a bit to big and typical “pirates” maybe.
I know what you mean about CUTTHROAT ISLAND, Gerate. I think it has a nice, classic theme, but maybe it gets a bit obnoxious at times? Too big, like you said Malte. I agree.
Another Debney score I think is excellent though is, THE JUNGLE BOOK. I know some of the themes incorporated are adapted from the original animation, but his new themes are really nice, like in the track “Wolves/Law Of The Jungle” – I think Debney adds some nice really colors and layers into the score that makes it very memorable and enjoyable.
Great album. As I believe we’ve talked about elsewhere, I have a special connection to “Paranoimia”.
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