The Scores Are Not Enough

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

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.

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.

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.

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.

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.

For this episode you’ll need to grab your fedora, keep your whip within reach, and try not to look directly into any mysterious ancient artefacts, because today we're celebrating one of the greatest adventure scores ever written: John Williams' magnificent music for Raiders of the Lost Ark. From the first triumphant blast of the Raiders March to the suspense, mystery, and snake-infested peril lurking throughout the score, Williams doesn't just accompany Indy on his quest—he practically cracks the whip and leads the expedition himself. Joining me for this archaeological dig through the soundtrack is Val, better known as Spaceodds1985, as we tip our hats to the music that helped make cinema's most famous archaeologist a treasure beyond measure. So dust off your map, follow the musical clues, and let's embark on a score-tastic adventure that's sure to belong in a museum!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 Williams. Official Soundtrack released Columbia Records / CBS International 1981 all rights reserved.'Whip It' written by Mark Mothersbaugh and Gerald Casale, performed by DEVO released through Warner Bros music 1980 all rghts reserved.

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.