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.

Capricorn One - With Brian Dobson

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.

King Kong - with Steve Brownett-Gale

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.

Indiana Jones And The Temple Of Doom - with Erik Woods

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.

Batman - with Niall Browne

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.

Battle Beyond The Stars - with Tim Gray

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.

Raiders Of The Lost Ark - with Val

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.

Superman The Movie - with Tom Pickup

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.&nbsp;"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.

Inception - with David Lowbridge-Ellis MBE

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&nbsp;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.&nbsp;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.

Star Wars - with Charlie Brigden

In Space No one Can Hear You Score!

A podcast talking about selected Scifi and Fantasy film scores, chosen in no particular order. Each score lovingly hand picked by a special guest.Listen Notes

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