The Scores Are Not Enough

Happy, Halloween! Yes, kids! The clock is ticking. Gather round your wireless sets, put on your spectacles, and prepare for the Big Giveaway. Tonight, we are ditching Michael Myers to track John Carpenter and Alan Howarth’s terrifying, analogue-anxiety masterwork, Halloween III: Season of the Witch.We've got thirteen horrific cues to choose from. They're fun, they're frightening, and they glow in the dark. We’re driving down to Santa Mira, facing sinister Irish toymakers, and testing microchips made from Bluestone’s stolen from Stonehenge.Don't touch that dial! Joining us to separate the visionaries from the voltage drops is the master of the laserdisc and the shining light of the East Anglian Firefox Preservation Society... Mr Rob Cassidy! Rob, the clock is ticking... welcome to the studio!"The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Dino De Laurentis Corporation, DebraHill Productions or Universal Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders.Score composed and performed by John Carpenter and Alan Howarth. soundtrack release via MCA, Varèse Sarabande., 1982, all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

"Wow, do we have a treat in store for you!" In this episode of The Scores Are Not Enough, we are joined by a true titan of cinema: Nicholas Meyer.As an acclaimed author, screenwriter, and director, Meyer is a master storyteller who didn’t just shape some of the most iconic science fiction and fantasy properties in history—he fundamentally understood that film music is not background decoration, but an active narrative engine. From collaborating with Hollywood’s Golden Age legends to discovering the defining musical voices of the '80s and '90s, his films possess a completely unique sonic fingerprint.Listen as we dive deep into the mind of a legendary filmmaker to explore how he uses music as a storytelling powerhouse.'Time after time' score composed by Miklos Rosza, performed by The Royal Philharmonic Orchestra, released through Entr'acte Recording Society, 1979 all rights reserved'Star Trek II: The Wrath Of Khan' score composed by James Horner, performed by the Hollywood Studio Symphony, released through Atlantic Records, 1982, all rights reserved'Star Trek VI: The Undiscovered Country' score composed by Cliff Eidelman, performed by the Hollywood Studio Symphony, released though MCA records, 1991, all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

Today we’re checking our corners and staying frosty, because we are entering the ultimate cinematic pressure cooker. We’re strapping into our power loaders to dissect a score that is pure, unadulterated auditory dread—James Horner’s frantic, brilliant, and notoriously rushed soundtrack to the 1986 masterpiece, Aliens. It’s a musical beast so gripping it’ll practically burst right through your chest—metaphorically speaking, of course. And because I couldn't possibly face a hive of xenomorphs without some serious tactical backup, I’m joined by a man who knows exactly when to say "game over, man, game over," it’s the brilliant Niall Browne from the Movies In Focus podcast! But is James Horner’s score for Aliens a worthy successor to Jerry Goldsmith? Well in short, yes! So buckle up, we’re in the pipe 5 by 5!The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Brandywine Productions or 20th Century Fox, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders.Score composed by James Horner soundtrack release via Varèse Sarabande, 1986, all rights reserved.'Loving The Alien' written and performed by David Bowie, released through EMI America, 1984, all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

This time we have a very special episode of The Scores Are Not Enough, and we are stepping directly into the glamorous, dangerous, and sonically spectacular world of cinema’s greatest secret agent.But we aren't just talking about the movies—we are talking about the music. The soaring brass, the sweeping strings, and the iconic themes that define the legendary 007 legacy. Joining us for this special edition is a man who doesn’t just appreciate that sound; he lives it, breathes it, and brings it to life on stages all over the world.He is the director, conductor, and driving force behind Q The Music Show—the world’s premier James Bond tribute orchestra. Coming from an extraordinary musical pedigree as the son of legendary UK orchestral trumpeter Paul Ringham, he has built a powerhouse production that brings Hollywood-level scores to live audiences with breathtaking precision.Tonight on The Scores Are Not Enough, we’re going behind the curtain. We'll be diving into the secret sauce of transcribing John Barry’s massive arrangements, the unique psychology of conducting elite UK session players—including some who actually played on the original film soundtracks—and what it really takes to keep a massive touring production on the rails.Please give a massive, warm welcome to our special guest, the maestro of the Bond sound himself: Warren Ringham!All music featured on this podcast is performed by The Q The Music Show Band.The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Amazon MGM Studios, United Artists, EON Productions Ltd, Metro-Goldwyn-Mayer Studios Inc., Columbia/Sony Pictures, Ian Fleming Publications, or Danjaq LLC. It is not supported or endorsed in any way by the aforementioned. The 007 Logo and James Bond copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the James Bond films for the Fans of 007 worldwide.Copyright information pertaining to all other content is listed below:-James Bond Character created by Ian Fleming.Copyright © Ian Fleming Publications Ltd.007 Gun Symbol Logo © 1962 Danjaq S.A. and United Artists CorpDr. No © 1962 Danjaq S.A. and United Artists Corp.From Russia With Love © 1963 Danjaq S.A. and United Artists Corp.Goldfinger © 1964 Danjaq S.A. and United Artists Corp.Thunderball © 1965 Danjaq S.A. and United Artists Corp.You Only Live Twice © 1967 Danjaq S.A. and United Artists Corp.On Her Majesty's Secret Service © 1967 Danjaq S.A. and United Artists Corp.Diamonds are Forever © 1971 Danjaq S.A. and United Artists Corp.Live And Let Die © 1973 Danjaq S.A. and United Artists Corp.The Man With The Golden Gun © 1974 Danjaq S.A. and United Artists Corp.The Spy Who Loved Me © 1977 Danjaq S.A. and United Artists Corp.Moonraker © 1979 Danjaq S.A. and United Artists Corp.For Your Eyes Only © 1981 Danjaq S.A. and United Artists Corp.Octopussy © 1983 Danjaq S.A. and United Artists Corp.Never Say Never Again © 1983 Warner Bros and Columbia EMI. A View To a Kill © 1985 Danjaq S.A. and United Artists Pictures Inc.The Living Daylights © 1987 Danjaq S.A. and United Artists Pictures Inc.Licence To Kill ©1989 Danjaq S.A. and United Artists Pictures Inc.GoldenEye ©1995 Danjaq Inc. and United Artists Pictures IncTomorrow Never Dies © 1997 Danjaq LLC. and United Artists Pictures Inc.The World is Not Enough © 1999 Danjaq S.A. and United Artists Pictures Inc.Die Another Day © 2002 Danjaq LLC. & MGMCasino Royale © 2006 Danjaq LLC MGM & Columbia Pictures SONYQuantum Of Solace © 2008 Danjaq LLC MGM & Columbia Pictures SONYSkyfall © 2012 Danjaq LLC. MGM & Columbia Pictures. (SONY)Spectre © 2015 Danjaq LLC. MGM & Columbia Pictures. (SONY)No Time To Die © Danjaq LLC. UA Releasing,MGM & Universal Pictures Hosted on Acast. See acast.com/privacy for more information.

For this episode forget the headphones—replace them with a blue bra and hook up the Barbie doll electrodes, because you’re listening to the ultimate deep-dive into the music of Weird Science! I’m your host, and today we are breaking the laws of nature to bring you the synths, the punk, and the unreleased score that made John Hughes’ wildest experiment absolute rock royalty. Joining me to engineer this masterclass in 1985 synth-pop is a man whose musical hot takes are nothing short of a total nuclear shower—returning guest, social media sensation, and absolute fan favourite, Tim Grey, AKA the legendary Bibi Dahl! But is this the most bonkers sci-fi fantasy soundtrack of the 80’s? There’s only one way to find out; let’s dive in!The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Hughes Entertainment, Silver Pictures or Universal Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders.Weird Science Score written and performed by Ira Newborn.Weird Science - Written by Danny Elfman and performed by Oingo BoingoPrivate Joy - written by Prince and performed by CheyneThe Circle - written by and performed by Max CarlTurn It On - written by Mike Champman and Holly Knight and performed by Kim WildeDeep In The Jungle - written by Marc Moreland, Chas T. Gray, and Bruce Morelandand performed by Wall Of VoodooWhy Don't Pretty Girls Look At Me? written by Zowie Wainwright, Bob Wainwright, Daniel Peacock, Simon Smith, and Tony Bodymead.and performed by The Wild Men Of WongaMethod To My Madness - written by Stive Bators and Brian James and performed by The Lords Of The New ChurchEighties - written and performed by Killing JokeSoundtrack released through MCA records, all rights reserved.She Blinded Me With Science - written and performed by Thomas Dolby, released through Venice in Peril, EMI & Capitol records, 1982, all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

Welcome back, film music buffs! Today, we are strapping into our flight suits and preparing for liftoff as we expose the truth behind Jerry Goldsmith’s powerhouse score for Capricorn One. If you thought NASA could pull off a hoax without some seriously propulsive brass, you are vastly mistaken—this soundtrack is so good it should be classified as a state secret. Joining us to break down the musical conspiracy is a man who knows a thing or two about top-secret operations, high-octane stunts, and dangerous liaisons: long-term James Bond Radio contributor, Brian Dobson! Brian is a certified adrenaline junkie who has literally bungee-jumped off the GoldenEye dam, but today we’re trading the tuxedo for a space suit to see if Jerry's themes can survive the harsh desert terrain. So, grab your headphones, watch out for black helicopters, and let's get tracking before this episode gets entirely scrubbed by shady government men!The Scores Are Not Enough is an unofficial entity, and in no way affiliated with New World Pictures or Orion Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders.Score composed and conducted by Jerry Goldmith, performed by the London Symphony Orchestra, copyright 1978 Warner Brothers Records, all rights reserved.'Life On Mars?' written by David Bowie, performed by Jessica Lange, copyright 2014 Hollywood Records, all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

Welcome to the podcast where we don't just talk about cinema—we make an ape-solute song and dance about it! Today, we are swinging into the concrete jungle to celebrate John Barry’s legendary 1976 score for King Kong, and I’m joined by a total silverback-to-back favorite on this channel, my good friend Steve Brownett-Gale! Steve is here to help me unwrap this musical beast without monkeying around, beating our chests in admiration as we scale the creative heights of this soundtrack. We will be deep-diving into the sensual, mist-shrouded beauty of "Arrival On The Island" and trying not to lose our minds during the panic of "Kong Hits The Big Apple." It is going to be a wild, primate-time listen that will drive you bananas, so grab your headphones and hold on tight!The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Paramount Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders.Score composed and conducted by John Barrysoundtrack release via Reprise Records 1976, all rights reserved.‘Ape Man' written by Ray Davies and performed by The Kinks. Released through Pye / Reprise records 1970 all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

For todays episode, we are skipping the soup with the eyeballs and diving headfirst into the musical mines of John Williams' 1984 masterpiece! We are breaking down the score for Indiana Jones and the Temple of Doom, and trust me, when it comes to orchestrations this wild, anything goes! To make sure we don't accidentally fall into a death trap of bad musical analysis, I am thrilled to be joined by the legendary Erik Woods of the Cinematic Sound Radio Podcast. Together, we will be marching through a slave children's crusade of frantic brass, terrifying Sanskrit chants, and adrenaline-pumping ostinatos. So strap into your mine carts and prepare to have your hearts ripped out—metaphorically, of course—as we unpack the darkest, craziest, and most thrilling adventure score in cinema history!The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Walt Disney, Lucasfilm or Polydor Music, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders.Score composed by John Williams soundtrack release via Polydor Music, 1984 and Concorde Records, 2008, all rights reserved.'The Deadwood Stage (Whip Crack Away)' Written by Sammy Fain and Paul Francis Webster. Performed by Doris Day. Copywright 1953 Columbia Records / Sony Music, all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

Welcome to the show where we are firing up the Batmobile, cueing the operatic choir, and shining a spotlight directly on Gotham's darkest musical mastermind! Today, we are sinking our teeth into Danny Elfman's legendary 1989 score for Tim Burton’s Batman—and I promise you, this episode will be an absolute descent into mystery. To ensure our musical analysis doesn't completely lose its mind and end up like a roasted dude in an Axis Chemical vat, I am thrilled to be joined by the incredible Niall Browne of the Movies In Focus podcast! Together, we are going to drop a clown attack of sharp insights, investigate the bat cave of orchestration secrets, and see if this gothic masterpiece can truly charge the batmobile of our hearts. So cue the dramatic brass, lace up your combat boots, and let's get ready for a waltz to the death with the greatest superhero score of the eighties!The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Warner Bros. Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders.Batman score composed by Danny Elfman, arranged by Steve Bartek and Shirley Walker, released through CTS records, Warner Bros. Music 1989, all rights reserved.Bat Out Of Hell written by Jim Steinman and performed by Meat Loaf, released through Cleveland International, Epic Records, 1977 all rights reserved. Hosted on Acast. See acast.com/privacy for more information.

Welcome back, starfighters and soundtrack explorers! For this episode we're heading into a Battle Beyond the Stars to celebrate one of the earliest gems in the career of James Horner, whose score blasts off with the magnificent "Main Title" and rockets toward the thrilling "The Battle in Space," giving us an early glimpse of the musical galaxy he'd later conquer. Joining me for this cosmic adventure is film music enthusiast Tim Grey, better known on social media as Bibi Dahl, and together we'll be exploring the themes, fanfares, and Horner hallmarks that make this score such a treat. Along the way we'll also pay tribute to Sybil Danning's Saint-Exmin, whose considerable gravitational attraction threatens to pull the entire film out of orbit, and spare a thought for poor old Sador, the galaxy's most dedicated collector, whose fondness for acquiring body parts as trophies really puts a new spin on keeping a handy souvenir. So keep your eyes on the stars—and your hands where Sador can see them—as we dive into this wonderfully rousing sci-fi score.The Scores Are Not Enough is an unofficial entity, and in no way affiliated with New World Pictures or Orion Pictures, all copyrights and trademarks, remain the sole property of the original holders. The Scores Are Not Enough is not associated in any way, with those mentioned above. This is an independent podcast to provide reference, opinions, and commentary on the scores of the sci-fi and fantasy films. Copyright information pertaining to all other content is retained by the original holders.Score composed by James Horner soundtrack release via New World Pictures, Orion Pictures and Warner Bros., 1980, all rights reserved.‘The Hokey Cokey’ performed by The Snowmen. Released through Slack (Stiff) Records 1981 all rights reserved. Hosted on Acast. See acast.com/privacy for more information.