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Ummm @Hybrid, what do you think about Holly Amber Church. I listened two scores from her and they are really good scores.I really liked Gary Go's Friend Request from 2016 too.My choices for Avatar 2 would be:<br>Powell or Newton Howard^ 2018 I meanSteve really knocked it out of the park with “Nightmare”. I always appreciate horror scores that balance the use of themes with the more atonal music you normally get.<br><br>And the last horror score I remember loving was John Carpenter’s 2019 Halloween score. A great blend of old and new, especially for Carpenter fans like myself.
@Knight Powell’s last score was HTTYD3....@superultramegaa<br><br>Luke Richards did “Ospreys” and Gary Dworetsky did “Calling All Autobots”. You can find that out from this very site.I'm a huuuuuuge fan of the Freddy character & movies, and I really liked this remake, it didn't deserve the reputation it has... Especially when you compare to Freddy 2 or 6... lol<br><br>Music is great, best horror score Steve did with Amityville. But I also liked his more ambient horrors like Texas Chainsaws or Friday the 13th or Hitcher. But I can understand he probably wanted to step out of that genre and not end up being the new Harry Manfredini typecast !"I wouldn't say "Battlefield" sounds nothing like Steve, it is pretty in line with his TF style"<br><br>Well that's the thing, if you think "TF style" thinking of TF1 & 2, then it's not exactly completely Steve. So I stick to my comment... :) lolI recently saw both this movie and Friday the 13th (2009). And I have to say that Steve did a pretty good job with the music. Yes, I'm aware of the complaints and the whole "remakes suck" mentality. But still......I advice you to revisit these scores. You might be pleasantly surprised. <br><br>Speaking of horror scores.......I realized these days that it's been a while since we've heard a TRULY memorable and effective horror score. Or maybe it's just me and I've missed some really good ones...<br><br>Your thoughts on the matter, folks?
^ Yet he’s still not quite a household name like some of his peers. HTTYD, Bourne, and Solo have all given him great exposure, but I feel like the general public doesn’t quite recognize him on the same level as Zimmer, Giacchino, or Williams.Many thanks Hybrid!John Powell's last score was for a Star Wars movie, I don't think you could get any more mainstream exposure than that.So Steve called Lorne for help, who agreed but asked not to be credited (his team was, so it kinda defeated the purpose lol)... They didn't do THAT much on the score<br>--------------------------<br><br>There you go. Exactly how I expected it to be. They were simply helping each other. We've seen it multiple times before with other big scores.<br><br><br>Thanks for clearing it up.I wouldn't say "Battlefield" sounds nothing like Steve, it is pretty in line with his TF style, but yeah, I definitely see the Lorne involvement in there. Interesting though, our first official additional composer credit on this score!
John Powell would be an amazing choice, if only to get him more mainstream exposure. <br><br>The thing is, if you strip away the drums, sound design, and harsh-mixing Tom is a actually a pretty gifted “classical” composer imo. His string writing has always impressed me, and seeing his use of woodwinds in Alita definitely proved that he can write outside of the mold Hollywood had put him in post-Mad Max.<br><br>Avatar 2 is most likely going to need a pretty diverse score, if the first one is any indicator. James Horner combined traditional orchestra, tribal drums, ethnic elements, electronics, and masculine action writing. All of which I could see Tom doing quite well.Chrono order goes like this :<br><br>Dublin 1996<br>Driving<br>Deceit<br>Second Warning<br>First Warning<br>Research<br>Conversations<br>The Beating<br>Traynor Lies<br>Never Show Your Fear<br>Preparations<br>The Killing<br>Bad News<br>The Funeral<br>One More Day<br><br>But some tracks have cues edited together, and some titles are not exactly perfect lol...Atli is fine in Iceland, maybe he just doesn't want to look for trouble anymore... :)Lorne did work on this score. At the very end, when the film (and therefore, the score) was getting butchered by editors to shorten it, there was very little time to rework the score to adapt it to the new cut. So Steve called Lorne for help, who agreed but asked not to be credited (his team was, so it kinda defeated the purpose lol)... They didn't do THAT much on the score, but Battlefield is indeed a LB cue (it sounds nothing like SJ).<br><br>Not the first time this happened. Lorne extensively worked on TF1 & 2 (credited), but also helped (uncredited) on TF3 (there again, his assistant back then Andrew K. was credited).Alright, that's ^^ a bit too far, but I agree that there's not enough evidence to really support the theory. The only compositions that seem like Balfe might have had a hand in are the various reprises of "Bumblebee" (aka the Journey theme) that was always rumored to be co-composed by Balfe, and the big choral section in "Your Voice" when the knights begin attacking Optimus, as that is also a progression I associate heavily with Balfe's involvement in the first 2 scores. But that's still not enough to prove that he was involved.<br><br>By the way Bayhem, I don't believe that John Williams or Howard Shore have lied about doing their work by themselves. John Williams has worked with William Ross and probably others, but I don't think they're lying when they say they've done a score themselves. They seem like they can compose on their own just fine.
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Harry Gregson-WilliamsJames McKee SmithStephen BartonHalli Cauthery
ComposerAdditional MusicAdditional MusicAdditional Music
Flushed Away (Complete Score)
Label: Unofficial Release
Length: 63'21
HZimmer.com rating:        Not yet rated
Fans rating:     rate at 1 out of 5 rate at 2 out of 5 rate at 3 out of 5 rate at 4 out of 5 rate at 5 out of 5   2/5 (2713 votes)
  1. London Intro (1:16)
    Harry Gregson-Williams
  2. Credits (2:07)
    Harry Gregson-Williams, Richard Whitfield
  3. Explosion (1:16)
    Harry Gregson-Williams, Halli Cauthery
  4. Sid (1:14)
    Harry Gregson-Williams, Halli Cauthery
  5. The Jacuzzi (1:26)
    Harry Gregson-Williams
  6. The Sewer (0:42)
    Harry Gregson-Williams
  7. Aaah (0:29)
    Harry Gregson-Williams
  8. Sewer City (2:34)
    Harry Gregson-Williams
  9. The Jammy Dodger (1:57)
    Harry Gregson-Williams
  10. Over There! (0:34)
    Harry Gregson-Williams
  11. Spike & Whitey (2:54)
    Harry Gregson-Williams
  12. Toad To Ruby (2:55)
    Harry Gregson-Williams
  13. Smashing (0:28)
    Harry Gregson-Williams
  14. Refrigirator (1:42)
    Harry Gregson-Williams, Halli Cauthery
  15. After Them! (1:40)
    Harry Gregson-Williams
  16. So High Falling Down (0:51)
    Harry Gregson-Williams
  17. The Bridge - Ruby Juggle (1:20)
    Harry Gregson-Williams, James McKee Smith
  18. Rita Kicks Roddy's Butt (0:50)
    Harry Gregson-Williams
  19. Deal To Daddy (1:53)
    Harry Gregson-Williams
  20. Tumbling House (1:07)
    Harry Gregson-Williams
  21. The Soup (1:18)
    Harry Gregson-Williams
  22. Mastermind & Pet (2:34)
    Harry Gregson-Williams
  23. Jammy Tip (0:28)
    Harry Gregson-Williams
  24. Put It Behind To Paddle (2:06)
    Harry Gregson-Williams
  25. Am I Forgiven? (1:23)
    Harry Gregson-Williams
  26. Spike Drops In (0:40)
    Harry Gregson-Williams
  27. Le Frog Intro (1:26)
    Harry Gregson-Williams, Graham Preskett
  28. Toad's Memoirs (1:05)
    Harry Gregson-Williams, Graham Preskett
  29. Slugs Dinner & Bedtime (3:05)
    Harry Gregson-Williams
  30. Bonjour (0:34)
    Harry Gregson-Williams, Graham Preskett
  31. Marcel (0:20)
    Harry Gregson-Williams, Graham Preskett
  32. Dance To Oeuf (1:37)
    Harry Gregson-Williams, Graham Preskett
  33. Escape From Le Frog (1:37)
    Harry Gregson-Williams, James McKee Smith
  34. Flight Over London (1:33)
    Harry Gregson-Williams
  35. Saying Goodbye (2:13)
    Harry Gregson-Williams
  36. Brother Rupert (1:12)
    Harry Gregson-Williams
  37. Rita Walks Away (1:07)
    Harry Gregson-Williams
  38. Roddy Figures It Out (0:39)
    Harry Gregson-Williams
  39. Rita Captured (1:00)
    Harry Gregson-Williams
  40. Going Back (1:35)
    Harry Gregson-Williams
  41. A Hand (0:52)
    Harry Gregson-Williams
  42. Evil Plan (2:17)
    Harry Gregson-Williams, Stephen Barton
  43. The Big Finale (1:50)
    Harry Gregson-Williams
  44. Jammy Dodger MK 2 (1:05)
    Harry Gregson-Williams, Stephen Barton
  45. Rita Kicks Roddy's Butt (Alternate) (0:50)
    Harry Gregson-Williams
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Noah Warran reply Replies: 2 || 2016-02-12 14:45:29
Complete Score

Charlotte 2018-04-24 13:11:37
Anywhere I can find a complete recording of this soundtrack? I've looked everywhere.

Edmund Meinerts2018-04-24 22:34:05
I've never found this one either. It's the biggest gap in my HGW collection probably. Wonder why it never got a proper score release, sure it's a bit mickey-mousey and insubstantial but they could have at least put 30 minutes or so on the regular album, not just one track...
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Flushed Away (Complete Score) soundtrack - Harry Gregson-Williams 2006