Non-Movie:
Planet Earth
Serenada Schizophrana
Soul of the Ultimate Nation

Honourable Mentions:
'The Huddle' from Happy Feet
'Death is the Road to Awe' from The Fountain
'Evey Reborn' from V for Vendetta
'Firewall' from Firewall
'African Rundown' from Casino Royale

Probable contenders I still haven't heard:
The Good German
Volver
Breaking and Entering
The Painted Veil

Favourite Scenes of the year (thanks to the music):
'The Great Eatlon' (from Lady in the Water... if you manage to forget the res tof the film)
'Valerie' (V for Vendetta)
'Dark Phoenix's Tragedy' (X-Men 3)
'Huddle' and 'Communication' (Happy Feet)

Best releases of older scores?

Alice's Adventures in Wonderland / Petulia - John Barry

Dead Ringer - Andre Previn

Ghostbusters - Elmer Bernstein

Saturn 3 - Elmer Bernstein

Seven Cities of Gold / Rains of Ranchipur - Hugo Friedhofer

Guns For San Sebastian - Ennio Morricone

My other top picks of the year (that I've herad):

quote:

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Originally posted by Camillu:
... and don't forget the not-so-old TTT

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I'd love to but I need cash for other things.

Best music from a movie no one saw:
Abominable, A Scanner Darkly

Most disappointing limited edition release:
Inchon

Biggest dud of a follow-up to great success:
The Last Kiss

Composers of the year:
Clint Mansell, Mark Isham, John Powell, Danny Elfman.

Someone released more unlimited edition soundtrack CDs than Varese Sarabande?
Lakeshore Records

Label releasing the most "inspired by" soundtracks:
Bulletproof

Oddest soundtrack flub:
First edition of Sherrybaby has 17 tracks, pulled from market just before original release date... although some were sold. Replacement edition has 19 tracks, including "Eternal Flame" by the film's star Maggie Gyllenhaal.

Top selling album in the country, with a whopping 3.5 million copies sold:
High School Musical (TV)

(Does the 3.5 million number representing the biggest number of a single CD sold in the US mean the music industry is toast? Or was there just nothing musical about 2006? Or have the cool movie trailers about "illegal downloading is not cool" made it even more cool?)

--Brian

quote:

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Originally posted by PeterK:
Most disappointing limited edition release:
Inchon

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Best TV score release for 2006: Battlestar Galactica Season Two

The one I just gof from the older variety is on the way to me now---to hear that new issue of the original tracks from Capricorn One.

TOP 20:
1. V for Vendetta, music composed by Dario Marianelli
- If you had asked me earlier last year if I was going to put Marianelli's score as my top pick for 2006 I would have said, "No". The same would have been said if you asked me before Christmas. The simple truth is this: I haven't listened to one album more this year than this. Every moment is wonderful in my ears. it highlights the great aspects of the film while remaining original, adventurous, and emotional. By the time the cue "Valerie" leads into "Evey Reborn" this score cemented itself as powerful. Also of note is how the songs not composed by Marianelli fit the atmosphere of his score. Not one bit of it sounds out of place. I truly believe that Marianelli is firmly placed to take over in Goldsmith's loving reigns of our favorite Maestro of the current Age of film scoring; but of course, no one can ever replace Jerry. I should also add that it includes the best arrangement and incorporation of Tchaikowski's "1812 Overture" since the original composition.

2. Casino Royale, music composed by David Arnold
- David Arnold has done the impossible with this score; he's firmly made me believe he's a qualified replacement for the genius of John Barry in the world of 007. There are a few fleeting moments of all of his collective three Bond scores prior to this that made me believe he was capable, but he cemented his status with this exotic adventure album filled to the brim with enough Bond music to make any fan grin in surprise. And did I mention the "James Bond Theme" isn't even used until the final moments of the album?! Pure brilliance.

3. The Fountain, music composed by Clint Mansell
- Of the films I saw this yearm none were as perfectly visually- and musically-driven than Darren Aronofsky's flawed masterpiece. I've given Mansell a lot of crap in the past, even going as far as saying there's nothing I even like on his resume, but the way this score comes together is an artist's absolute dream. Mansell knew what he was doing every second of this score and it definitely shows. The performances by the genius of Kronos Quartet and Mogwai add a whole new dimension of depth and appeal to this score.

4. Perfume: The Story of a Murderer, music composed by Tom Tykwer, Johnny Klimek, and Reinhold Heil
- This duo of composers - and their collaborative director- is another case similar to Clint Mansell. These are composers mainly knwon for thier contributions to electronic music, but their work here for a complete orchestra and choir is a thing of magic. This score already has many praisers and detractors. I'm in the former group and I plan to stay. I'll freely admit that nothing in this is out-of-this-world original; but for the past work of Klimek and Heil, this is like a whole new ballgame.

5. The Black Dahlia, music composed by Mark Isham
- Isham had a huge year in 2006 (five original scores in the year!) and The Black Dahlia singled itself as being one of the best compositions of his rewarding career. A true Golden Age score in the sense, this jazz-influenced score held my attention for a long time and still continues to do so.

6. Inside Man, music composed by Terrence Blanchard[/i]
- My first Blanchard score and also my biggest surprise of 2006. A clever blend of Barry-esque brilliance of jazz infused with an ever-lasting memory of Jerry Goldmsith's themes. This score had a huge impact on me this year and it hasn't wore off.

7. The Omen, music composed by Marco Beltrami
- Why Beltrami still continuously gets stuck with these second-rate scoring gigs is beyond me. The man has tremendous talent and one of the best backgrounds of the young composers. This is a score for a film that did not deserve it. Scary, sentimental, and thrilling; he didn't copy Goldsmith score, he emulated his master and aspired to create an equally terrific score. This is a highlight for Beltrami in a great year.

8. The Departed, music composed by Howard Shore
- Arise Shore fans because a new Scrocese/Shore score is among us! Hopefully Howard is here to stay with Martin as this, thier third collaboration, is a fast and effective tango-inspired masterpiece. The filmis also my favorite of the year. An amazing piece of work in all respective areas.

9. The DaVinci Code, music composed by Hans Zimmer
- Zimmer must have been readin Umberto Eco's Foucault's Pendulum to be inspired to create a score of such beautiful majesty; because it certainly wasn't Ron Howard's tepid adaptation of Dan Brown's pitiful novel. This is another one I've enjoyed throughout the year despite the terrible film it's associated with.

10. The Prestige, music composed by David Julyan
- Julyan is rising in my eyes; he's becoming someone to look out for. The film remains one of my beloved favorites of the year and Julyan's score works marvelously in not dating the film. This isn't a period score by any means; rather it's a score that highlights the mood and atmosphere of the film. And, in days of mindless sonic wallpaper, is a godsend.

11. Battlestar Galactica Season Two, music composed by Bear McCreary

12. Underworld: Evolution, music composed by Marco Beltrami

13. The New World, music composed by James Horner

14. The Three Buriels of Melquiades Estrada, music composed by Marco Beltrami

15. X-Men: The Last Stand, music composed by John POwell

16. Lost Season One/Season Two, music composed by Michael Giacchino

17. Brick, music composed by Nathan Johnson

18. Roving Mars music composed by Philip Glass

19. Eragon, music composed by Patrick Doyle

20. Mission: Impossible-3, music composed by Michael Giacchino

WORTH A LISTEN:
The Fast and the Furious: Tokyo Drift, by Brian Tyler; Superman Returns, by John Ottman; Running Scared, by Mark Isham; Lady in the Water, by James Newton Howard; United 93, by John Powell; All the King's Men, by James Horner; Firewall, by Alejandre Desplat; SUN: Soul of the Ultimate Nation, by Howard Shore; An American Haunting, by Caine Davidson.

IMO, Lost should rank as one of the worst scores of the year. Watching the first batch of season 3 episodes recently it became all too clear how boring and typical Michael Giacchino score is; that same stupid string arrangement for "scary" (used again in M:I-3) drives me up the wall! I'm dreading his music for Star Trek XI.

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Originally posted by sean:
IMO, Lost should rank as one of the worst scores of the year. Watching the first batch of season 3 episodes recently it became all too clear how boring and typical Michael Giacchino score is; that same stupid string arrangement for "scary" (used again in M:I-3) drives me up the wall! I'm dreading his music for Star Trek XI.

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Desplat continues to impress me. I actually enjoyed the Tykwer score for "Perfume" alot.

Scores on the list to get to include many mentioned so far. Anyone heard "Alatriste"? It received some attention overseas but I don't think it made it hear yet.

Surprised noone mentioned the FSM set of Scott Bradley scores for MGM. That is really amazing stuff...and a lot of it!

I agree with Peter on "Abominable". I hear a lot of horror movie scores and this one should make most of the newer composers take notice. It's a great score from a master.

I was surprised "Pan's Labyrinth" never made it aroudn my area. We tend to get that kind of stuff. But looking forward to hearing the music too.

I'm still hoping Pan's Labyrinth is going to open somewhere near me. I've been dying to see it since it was first announced, and it makes me think I can expect similar problems when Satoshi Kon's Paprika opens in a few months. Even though I haven't seen it, Navarrete's score is still just about my favorite score of the year.

quote:

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Originally posted by Squiddybop:
I enjoyed Baņos's Alatriste score quite a bit. There's at least two nice themes, lots of driving percussion, plaintive choir, flamenco guitar, and I really like the moody tracks featuring the chalumeau. I don't think I've got enough of Baņos's other scores to comfortably say how it ranks among his previous work, but I'd probably put it at least in my top five favorites I've heard by him, possibly even my top three.

I'm still hoping Pan's Labyrinth is going to open somewhere near me. I've been dying to see it since it was first announced, and it makes me think I can expect similar problems when Satoshi Kon's Paprika opens in a few months. Even though I haven't seen it, Navarrete's score is still just about my favorite score of the year.

NP: The Banquet (Tan Dun)

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ALATRISTE was a score that it took me awhile to get into. And I LOVE Banos' work. Basically the CD gets better as it goes along. It's not very thematic to begin with so if you get it, which I recommend you do, give it time to grow on you.

I was lucky enough to see PAN'S LABYRINTH in a nice theatre the weekend it opened and it's a dark but beautiful film. The score is wonderful and there is more music on the CD than used in the film which is a bonus. I'd love to explore more of Navarrete's work but as with most Spanish soundtrack CDs, they are almost impossible to obtain. (I lucked out on ALATRISTE.)

I'd say the easiest Navarrete score to find after Pan's Labyrinth would be The Devil's Backbone The film is also worth seeing if you haven't already.

NP: Patlabor: The Movie (Kenji Kawai)

And there could only be one winner...

BABEL(Santaolalla) - for not compromising on the minimal elements required to fill up a Dolby sound mix for long stretches at a time. For having the confidence in the audience to recognise the difference between an original score and a music editor's patchwork of instrumentals of diverse authorship. For reminding us of great films like THE INSIDER by using identical pieces of music for similar scenes. And, of course, for keeping out of the way of the songs. (Lest we forget.)

quote:

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Originally posted by franz_conrad:
[b]JUST LIKE HEAVEN (Rolfe Kent) - I love the way he keeps out of the way of the songs in this film
TSOTSI - Kwaito makes me groove...
PIRATES OF THE CARIBBEAN 2 - The subtext of pirates as the rock musician moonlighting sailors of the 19th century continues with this thoughtful contribution from Hans Zimmer
THE PRESTIGE (David Julyan)* - If every magic trick can be broken into a 'pledge', a 'turn' and a 'prestige', this album is one long pledge. This could have been a concert work that premiered with one of Boulez's works.
FEARLESS (Umebayashi) - for managing to equal the production standards of its Lakeshore Records release with music worthy of such treatment. Now that's hard!
ECHOES OF INNOCENCE - if only all-synth scores feature samples this good...
MIAMI VICE (whoever) - John Murphy and Klaus Badelt almost keep out of the way of the songs almost as well as Rolfe Kent.

And there could only be one winner...

BABEL(Santaolalla) - for not compromising on the minimal elements required to fill up a Dolby sound mix for long stretches at a time. For having the confidence in the audience to recognise the difference between an original score and a music editor's patchwork of instrumentals of diverse authorship. For reminding us of great films like THE INSIDER by using identical pieces of music for similar scenes. And, of course, for keeping out of the way of the songs. (Lest we forget.)

[/B]

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LOL! Such class and pinache, Franz.

I saw the film today, and I think the score is indeed - and to my surprise - something of a miscalculation at a handful of key moments, including the death of a central character. Often it's quite ok, but the omnipresence of the monotheme does indeed wear the music-alert listener down by the end, almost wishing for a break from a tune that comes to sound a bit like a minor-key version of 'Mary had a little lamb...'.

It's a shame, because it's a beautiful score with a European film as album, but the film is a bit all-over-the-place - gratuitous to the hilt despite presenting some very interesting ideas and images. The film either falls short of the score's sublime moments, and the score doesn't seem to find an interesting way to support the essential tension between two worlds of evil at the heart of the film (fascism, and the necessary evil - the whatever it takes - required to destroy fascism).

I don't so much mind its Oscar nomination though, because Navarrete makes as many great choices as there are moments of distancing disconnection. And it is a gorgeous album. I just don't think it's the score that the film quite needed to explore its fascinating idea in a deeper way than Del Toro felt like.