The Scores Are Not Enough

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

Great Scott! For this episode we don’t just listen to movie music—we generate enough sonic energy to send us back in time! Today we’re celebrating the electrifying soundtrack to Back to the Future, and joining me on this temporal experiment is my special guest Becca Andrews, co-host of the film review podcast Do You Expect Us To Talk? and occasional contributor to Set The Tape! The moment Huey Lewis & The News unleash The Power of Love, we’re talking a full 1.21 gigawatts of nostalgia! So climb aboard the DeLorean, set the destination circuits for 1985, and hold on tight—because when this soundtrack hits 88 miles per hour… you’re gonna hear some serious music!The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Warner Brothers, 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 Alan Silvestri soundtrack release via MCA Records, 1985, all rights reserved."The Power of Love" written by Huey Lewis, Chris Hayes, Johnny Colla performed by Huey Lewis and the News"Back in Time" written by Huey Lewis, Chris Hayes, Johnny Colla, Sean Hopper, performed by Huey Lewis and the News"Mr Sandman" written by Pat Ballard and performed by The Four Aces"Night Train" written by Oscar Washington, Lewis P. Simpkins, Jimmy Forrest performed by Marvin Berry & The Starlighters"Earth Angel (Will You Be Mine)" written by Curtis Williams, Jesse Belvin, Gaynel Hodge performed by Marvin Berry & The Starlighters"Johnny B. Goode" written by Chuck Berry, performed by Marty McFly with The Starlighters

Welcome, brave listeners, to a sonic quest and one of the most gloriously bold fantasy scores ever committed to film. Today, we’re diving into Krull—where the glaive flies, the stakes are sky-high, and the music by James Horner doesn’t just accompany the adventure, it practically rides the Firemares straight through it. But fear not, I won’t be venturing into the Black Fortress alone—I’m joined by Will Welch, Curator of The Wonderful World Of Film Music, to help navigate Horner’s sweeping, swashbuckling soundscape. Together, we’ll Krull over every cue, uncover hidden gems, and celebrate a score that proves fantasy films don’t just need heroes—they need music that’s truly out of this world.The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Columbia 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, performed by the London Symphony Orchestra. soundtrack release via Southern Cross Records, 1987, all rights reserved.'Swords Of A thousand Men' written by Eddie Tenpole and performed by Tenpole Tudor. Released through Stiff Records 1981 all rights reserved.

This week we’re striding through some bloody huge wooden gates to dig deeply into a score by the maestro himself, John Williams. From the electric spark of the “Opening Titles” to the soaring “main theme” wonder rises higher than a brachiosaurus on its hind legs—majestic, monumental, and most definitely ‘tricera-top’ tier. But don’t get too comfy in the visitor center: “Incident at Isla Nublar” snaps at our heels, turning calm into chaos faster than you can say “clever girl.”And joining me to dodge a “Raptor Attack,” steal embryos and dangle over disaster in “High Wire Stunts.” is returning guest Tom Fleming Bond and sci-fi and fantasy film fan extraordinaire who can be found on various socials as @tomyflemba. But is John Williams score for Jurassic Park a Tyrannosaur or a Doyathinky saurus? 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 Amblin Entertainment, 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 Willaims soundtrack release via MCA Records, 1993, all rights reserved.'Walk The Dinosaur' written by David and Don Was and performed by Was (Not Was). Released through Chrysalis / Fontana/Phonogram 1986 all rights reserved.

For this episode we’re crossing the streams between cinema and soundtracks to bust open the music behind the 1984 classic, Ghostbusters. And joining me to discuss the synth-haunted grooves of Ray Parker Jr.’s chart-topping theme to the delightfully eerie cues by Elmer Bernstein, is returning guest Gillian McShane and together we’ll be trapping every note, riff, and ghostly groove in our audio containment unit. So grab your proton packs, keep your reverb set to “supernatural,” and remember: when the bassline goes bump in the night… we’re the ones you’re gonna call!The Scores Are Not Enough is an unofficial entity, and in no way affiliated with Columbia 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.Ghostbusters score composed by Elmer Bernstein and performed by The Hollywood Studio Symphony"Ghostbusters" written and performed by Ray Parker Jr."Cleanin' Up The Town" written by Brian O'Neal, Kevin O'Neal, performed by The BusBoys"Savin' the Day" written by Bobby Alessi, Dave Immer and performed by The Alessi Brothers"In the Name of Love" written by Tom Bailey and performed by The Thompson Twins"I Can Wait Forever" written by Graham Russell, David Foster, Jay Graydon and performed by Air Supply "Hot Night" written by Diane Warren, The Doctor (Steven Angelica) and performed by Laura Branigan"Magic" written and performed by Mick SmileyOriginal Motion Picture Soundtrack released through Arista recordd, 1984, all rights reserved."Ghost Town" written by Jerry Dammers and performed by The Specials, released through 2 Tone Records, 1981, all rights reserved.

Hello everyone! And welcome to our brand new season of ‘The Scores Are Not Enough’ hosted by me, Rich Marsden! In each episode we will perform an in depth analysis of a selected sci-fi or fantasy film score, chosen in no particular order, each score lovingly hand picked by a special guest.For this episode we’ll be ordering sushi, hunting down rogue androids, retiring replicants, dreaming of unicorns amongst other things. It’s Bladerunner of course and joining me to soak up the sights and sounds of a futuristic LA is Val, who can be found on all the socials as Spaceodds1985. But to paraphrase Johnny Depp in Once Upon A Time In Mexico is Vangelis’s score for Bladerunner a Repli-can’t or a Repli-can? and 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 The Ladd Company, Shaw Borthers or Warner Brothers, 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.Bladerunner soundtrack composed and performed by Vangelis, released through Eastwest / Atlantic records 1994 all rights reserved.'Paranoid Android' written and performed by Radiohead. Released through Parlophone/ Capitol Records, 1997 all rights reserved.Clip of Rutger Hauer from Blade Runner, Warner Brothers 1982 , all rights reserved.

Hello everyone! And welcome to our brand new season of ‘The Scores Are Not Enough’ hosted by me, Rich Marsden! In each episode we will perform an in depth analysis of a selected sci-fi or fantasy film score, chosen in no particular order, each score lovingly hand picked by a special guest.This week we’ll be getting stranded 3million light years fro home, getting abandoned and pursued, flying across the moon, amongst other extraterrestrial escapades, that’s right it’s ET and joining me to soak up the sights and sounds of Sanfernando Valley during Halloween and finding out what ET is short for, because he’s got little legs! Is Phil Barr, Bond fan extraordinaire who can be found on all the socials as Bond Only Bond! But is John Williams score something to phone home about? 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 MCA records, MGM scoring stage, Amblin Entertainment 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 sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders.Score composed by John Williams and performed by the Hollywood Studio Symphony orchestra, conducted by John Williams. , soundtrack release via MCA recorsa 1982, all rights reserved. "Papa-Oom-Mow-Mow" written by Carl WhiteAl FrazierSonny HarrisTurner Wilson Jr. Performed by The Persuasions and released through Elektra records 1977 all rights reserved.'Theme From E.T." performed by Walter Murphy and Friends, released through MCA Records 1982, all rights reserved.

Hello everyone! And welcome to our brand new season of ‘The Scores Are Not Enough’ hosted by me, Rich Marsden! In each episode we will perform an in depth analysis of a selected sci-fi or fantasy film score, chosen in no particular order, each score lovingly hand picked by a special guest.This week we’ll be hurling ourselves into the void, doing sexy dances, getting into football fights getting lost in swamps amongst other Mongo based mayhem, that’s right it’s Flash Gordon and joining me to soak up the sights and sounds of Ming’s palace whilst avoiding getting a Dale Ardon is returning guest Tim Grey, curator of the social media account for Bibi Dahl! But is Queen’s score for Flash Gordon a heroic victory? 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 Starling Productions, Famous Films or Columbia-EMI-Warner 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 sci-fi and fantasy films .Copyright information pertaining to all other content is retained by the original holders.Score composed by Queen and Howard Blake, soundtrack release via EMI and Elektra records, 1980, all rights reserved.'Flashlight' written by George Clinton, Bootsy Collins and Bernie Warrel and and performed by Parliament. Released through Casablanca records 1977, all rights reserved.