For this episode, we’re celebrating the towering, thunderous, heart-swelling brilliance of John Williams and his legendary score for Superman: The Movie — the soundtrack that didn’t just make us believe a man could fly… it made us believe French horns had superpowers.This score has everything: heroic marches, romantic wonder, cosmic majesty, and enough musical leitmotifs to make Lex Luthor plot revenge against the entire brass section. And because no Fortress of Solitude should ever be occupied alone, I'm joined by Tom Pickup from the Really 007! Podcast — connoisseur of iconic movie music, lovers of classic cinema, and people who understand that when John Williams conducts, even your coffee feels more cinematic.So tighten your cape, cue the timpani, and prepare for a super-conversation about a super-score for the original cinematic Superman.

Because this episode… is here to save your playlist.

The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Columbia-EMI-Warner Productions, 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 Warner Bros Records, 1978, all rights reserved.

'Superman' written by Kelly Jones and performed by The Stereophics. Released through V2 Records 2005 all rights reserved.

Hosted on Acast. See acast.com/privacy for more information.

For this episode we’re descending several layers deep into the dreamscape of Inception, guided by the seismic brilliance of Hans Zimmer’s score — a soundtrack that doesn’t just accompany the film, it practically rewires your pulse. From the ominous brass blasts of “Dream Is Collapsing” to the aching grandeur of “Time,” via the ticking tension of “Mombasa” and the eerie elasticity of “Half Remembered Dream,” Zimmer created music that feels less composed than architected, like a sonic extraction job unfolding in real time. And joining me to unpack every BRAAAM, paradox and perfectly calibrated emotional beat is David Lowbridge-Ellis — writer, cultural commentator, Bond expert, and curator of the social media presence Licence To Queer — for a conversation that promises to be as layered, stylish and unexpectedly emotional as the score itself.

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.

Score composed by Hans Zimmer soundtrack release via Reprise Records, 2010, all rights reserved.

'Supermassive Black Hole' written by Matt Belamy and performed by Muse. Released through Warner Music and Heluim-3 2006 all rights reserved.

"Non, je ne regrette rien" written by Charles Dumont, lyrics by Michel Vaucaire and performed by Édith Piaf' 1960

"In Dreams" written and performed by Roy Orbison, released through RCA Victor / Acuff-Rose Publicatons, 1963, all rights reserved.

Hosted on Acast. See acast.com/privacy for more information.

For this episode we’ll be analyzing the two most powerful forces in the galaxy: destiny… and a French horn section. We’ll be blasting off into the symphonic hyperspace of the “Main Title,” that bold musical announcement that basically says, “Put down your popcorn and prepare for feelings.” Dodging “Imperial Attacks” swooning irresponsibly over Princess Leia, trying not to blow our entire moisture farming budget at a “Robot Auction.” and observing a wretched hive of scum and villainy. No, not it’s not PMQ’s at Westminster! that’s right it’s Star Wars of course! And joining me to soak up the sights and sounds of Mos Isley Spaceport, and taking in the intergalactic jazz chaos of the “Cantina Band,” is Charlie Brigden — a film music writer and journalist who knows his horror scores as intimately as most of us know our own Netflix passwords. With bylines in Fangoria, Set The Tape, Cinepunx, and Certified Forgotten, he’s made a name exploring the gloriously shadowy corners of soundtrack and cult cinema. He’s the host of The Sound of Fear, where horror film music takes centre stage, and has appeared on shows like Wrong Reel and The Last Horror Podcast. If it involves eerie synths, cult classics, or a vinyl release from Death Waltz Records, chances are Charlie’s already written the liner notes — and brought a flashlight. But is John Williams score for Star Wars still as brilliant as we remember? 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 Lucasfilm 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.

Star Wars score composed and conducted by John Willams and performed by The London Symphonic Orchestra. Released through 20th Century music 1977, all rights reserved

Star Wars / Cantina Band performed by Geof Love and His Orchestra, released through Music For Pleasure, 1977 all rights reserved.

Hosted on Acast. See acast.com/privacy for more information.