Christophe Beck

Canadian Christophe Beck studied under the brilliant Jerry Goldsmith. His first major assignment was for Joss Whedon's classic TV series Buffy the Vampire Slayer; while Beck did not compose all the music for every episode, he was the primary composer for seasons 2, 3, and 4. In film, Beck has mainly composed for frivolous comedies such as Cheaper by the Dozen, Garfield, A Cinderella Story, Ice Princess, The Pink Panther remake, Fred Claus, Tower Heist, This Means War, Movie 43, and RIPD. Foremost among his comedy assignments in terms of popularity is The Hangover trilogy. However, Beck has also branched out with scores like Elektra, the first Percy Jackson film, and RED. Recently, he has scored a few prestigious Disney films: The Muppets, the animated short Paperman, Ant-Man, and Frozen. For this last film, Beck delivered a solid score and worked on the arrangements of the songs composed by Kristen Anderson-Lopez and Robert Lopez (2011's Winnie the Pooh, The Book of Mormon, and the Finding Nemo musical at Walt Disney World's Animal Kingdom). Especially enchanting in Frozen's score is Beck's arrangement of the song "Vuelie," which plays under the film's opening studio logos and title.

Ant-Man
Frozen (Songs by Kristen Anderson-Lopez and Robert Lopez)
Paperman

Richard Rodgers and Oscar Hammerstein II

Rodgers and Hammerstein's names are often seen together but, shockingly, they are not the same person. Each had lives and careers before they met each other and each had a different role in the musicals they collaborated on: Rodgers wrote the music and Hammerstein wrote the book and lyrics (except for The Sound of Music, for which Hammerstein wrote the lyrics only). Before meeting Rodgers, Hammerstein worked with Jerome Kern, most notably on Show Boat. Rodgers worked with Lorenz Hart on shows such as A Connecticut Yankee and Babes in Arms; after Hammerstein's death in 1960, Rodgers wrote a few more musicals, most notably Do I Hear a Waltz? with Stephen Sondheim. But together, Rodgers and Hammerstein were unstoppable, churning out the classics Oklahoma, Carousel, State Fair, South Pacific, The King and I, Cinderella, Flower Drum Song, and The Sound of Music. Even one unfamiliar with these musicals has almost certainly heard songs like "Oh What a Beautiful Morning," "Oklahoma," "Some Enchanted Evening," "I Whistle a Happy Tune," and "Shall We Dance?" Fans of the Liverpool football club (that's soccer to Americans like me) hold the song "You'll Never Walk Alone" near and dear to their hearts--but how many of them know that it's from Carousel, a musical that opened in 1945? Furthermore, how many of these hardcore fans know that the writers of that song also wrote "I Whistle a Happy Tune?" In any case, a football club with a Rodgers and Hammerstein song as its anthem is laudable, and can only add to Liverpool's merits.

Rodgers and Hammerstein's final collaboration was The Sound of Music, the film of which I must admit has a lot of nostalgia value for me. The exuberant songs "The Sound of Music," "Maria," "I Have Confidence," "Sixteen Going on Seventeen," "My Favorite Things," "Do-Re-Mi," "The Lonely Goatherd," and "So Long Farewell" are almost frighteningly catchy and irresistible. They are topped off with the stirring "Climb Ev'ry Mountain" and "Edelweiss," the former a transcendent anthem and the latter, which is an original song by Rodgers and Hammerstein and not based on any Austrian folk song, a moving ballad haunting in its subtly graceful simplicity. Okay, so Christopher Plummer didn't like "Edelweiss" because he thought it was too saccharine--as Jiminy Cricket says, "You can't please everybody." If there is one criticism that malcontents have leveled at Rodgers and Hammerstein's songs, it's that they are too syrupy and schmaltzy. I suppose they are guilty as charged, but sweetness and quality are two different things. I'm sure many would prefer a superb, sweet song to an atrocious, gloomy one, but I may be attributing certain people with too much common sense.  Rodgers wrote songs with indubitably exceptional melodies, and Hammerstein wrote the perfect lyrics to match them. Their legacy will be remembered not just by those who value phenomenal musicals, but also by everyday people who have been touched by the songs of these two great men.


The Sound of Music (Film)**

Andrew Lloyd Webber

Andrew Lloyd Webber is a titan of modern musical theater and a magician of melody. Although his works are not free from controversy, and some of his songs admittedly have suffered from overexposure (especially "Memory"), his hit parade of immensely popular musicals is admirable. He helps support and operate theatrical productions through his Really Useful Group (that's the name of the company; I'm not trying to be hyperbolic here), but it is his music that has touched the hearts and minds of millions. Outside of musical theater, Lloyd Webber's most famous work is his choral Requiem Mass. It includes the song "Pie Jesu," recorded by artists like Sarah Brightman, Sissel, and Marie Osmond; child prodigy Jackie Evancho astonished the world with her beatific interpretation of the already-gorgeous song in 2010. Of course, musical theater is where Lloyd Webber's passion lies: the songs of Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, Evita, and Cats are all premier examples of quality music. But even they are eclipsed by The Phantom of the Opera; the semi-tragic romance is brimming with vivid, poignant, sweeping tunes. "Think of Me," "Angel of Music," "The Music of the Night," and "All I Ask of You" all elegantly portray different facets of passionate love with distinct, lush melodies. Of course, the title tune, "The Phantom of the Opera," depicts the heights of mystery and drama, never more so than in the overwhelmingly intense overture for colossal pipe organ and full orchestra. Lloyd Webber's output has slowed recently, but his complete body of work securely cements his place in the history of musical theater.

The Phantom of the Opera (Film)
The Phantom of the Opera (Stage)**

Richard and Robert Sherman

Call them classics or call them ear worms; the best songs of the Sherman Brothers will probably last for as long as people keep singing. Richard and Robert Sherman were the sons of songwriter Al Sherman, who wrote many Tin Pan Alley songs (but don't ask me to sing one he wrote because I don't know any). The brothers became closely associated with the Walt Disney Studios, and many have written that they essentially served as Walt's musical voice. They wrote songs and scores for films like The Parent Trap, The Sword in the Stone, The Jungle Book, The Aristocats, Bedknobs and Broomsticks, and the original three Winnie the Pooh shorts as well as the non-Disney films Chitty Chitty Bang Bang and Charlotte's Web. Mary Poppins is their magnum opus, containing classics like "A Spoonful of Sugar," "Jolly Holiday," "Superidontfeelliketypingthewholething," "Chim-Chim-Cher-ee," "Step In Time," and "Let's Go Fly A Kite." My own favorite song from that film is "Feed the Birds," an exquisite, almost heart-wrenching melody that contrasts with the upbeat, bouncy nature of many of the brothers' most popular songs. Speaking of upbeat and bouncy, many of the Sherman Brothers' well-known songs were written for Disneyland and various other Disney parks, where they play to this day. "There's A Great Big Beautiful Tomorrow," "One Little Spark," "All Aboard the Mine Train," and "The Tiki, Tiki, Tiki Room" (yes, the title has three tikis despite the cast saying it five times in the song) all have catchy, delightful, sugary melodies. But their most notorious song is "It's A Small World (After All)," which is an admittedly nice melody when you hear it once. Unfortunately, as anyone who has gone on the ride knows, it plays nonstop for 15 minutes (in the Disneyland version at least; the pathetic Disney World version is shorter). I don't outright hate it as many others seem to, and even the Sherman Brothers themselves have a sense of humor about the song; in one interview (from the Musical History of Disneyland 50th Anniversary set), they quip that their doorbell is set to the song and that they have to pay each other every time they hear it. Robert passed away in 2012, but Richard wrote the song "Make Way For Tomorrow Today" for the film Iron Man 2, proving that he can still write buoyant tunes. Even if you think the Shermans' songs are cloying and saccharine, you still have to admire their talent for creating memorable melodies.

The Jungle Book (score by George Bruns)
Mary Poppins*
Tom Sawyer (with John Williams)

Steven Price

Steven Price was originally a music editor, most notably on the last two Lord of the Rings films (The Two Towers and The Return of the King). He did additional arrangements on Nigel Godrich's score for director Edgar Wright's film Scott Pilgrim vs. The World and collaborated with Basement Jaxx on his first score for Attack the Block. Wright subsequently hired Price to score The World's End, the capper of the so-called "Three Flavors Cornetto Trilogy" starring Simon Pegg and Nick Frost (the previous two being Shaun of the Dead and Hot Fuzz). Price's score is a mixture of trip hop-ish beats and standard orchestra, with extremely apt usage of a choir sample from "The Corrosion" by Sisters of Mercy, the favorite band of Pegg's character, Gary King (the actual song plays during the end credits). Price also wrote the score for Alfonso Cuaron's masterfully directed film Gravity; the music basically serves as the film's sound effects. Although it is necessarily abrasive or atmospheric for much of its run time, Price does write some triumphant tunes for the film's final 15 minutes based on tried and true chords that nevertheless prove effective in the film. It's hard to hear if Price has a distinct style, and indeed he is probably still finding his voice. Here's hoping that his music continues to develop and mature, especially if he keeps getting prestigious assignments.

Gravity
The Hunt
Suicide Squad

Jeremy Soule

Jeremy Soule is one of the most prominent and popular composers of video game music today. He got his start composing music for children's games from Humongous Entertainment, including some of the entries in the Putt-Putt, Freddi Fish, and Pajama Sam series. Soule went on to write music for games like Star Wars: Knights of the Old Republic, the Guild Wars series, World of Warcraft: Mists of Pandaria, and the first four Harry Potter video games. But his scores for the latest three Elder Scroll games to date (Morrowind, Oblivion, and Skyrim) have raised his profile considerably. While his music for Skyrim doesn't use a full live orchestra (though it does use a real choir), Soule uses his samples effectively to create haunting soundscapes and suggestive melodies that perfectly evoke the Stygian mood of the game.

The Elder Scrolls V: Skyrim

Ranking the X-Men Film Scores

As far as superhero films go, it has become sadly accepted that there will be no musical continuity between films—it’s become the exception rather than the rule. It’s understandable that reboots like The Incredible Hulk, The Amazing Spider-Man, Man of Steel, and Christopher Nolan’s Batman would have different scores from the originals (though coincidentally, I didn’t really enjoy the scores from any of these films, especially compared to their predecessors.) Iron Man went from Ramin Djawadi to John Debney to Brian Tyler, with the last two being vastly superior scores to the first, so maybe that wasn’t a bad thing. Nolan’s Batman lost James Newton Howard for the last installment, to its detriment. Thor is going from Patrick Doyle to Brian Tyler and Captain America from Alan Silvestri to Henry Jackman. Perhaps most inexplicable of all, The Amazing Spider-Man is ditching James Horner for Hans Zimmer. And if rumor has it, Tyler may be replacing Silvestri for Avengers: Age of Ultron (or it could be puffery; the original Captain America was rumored to be scored by Michael Giacchino or John Powell at one point). These frustrations are another topic, but the X-Men films were ahead of the curve in that all six were scored by different composers. It has taken seven films for a composer to score two X-Men films with John Ottman slated for X-Men: Days of Future Past. 

With the recent release of The Wolverine, I decided to do a personal ranking of the X-Men film scores. I do not have Marco Beltrami’s score to The Wolverine on CD and only heard it in the film, but there would have to be some pretty epic unused material for me to change its ranking on here.

6. X2: X-Men United (John Ottman)

Ottman’s theme is catchy and rousing, even if the rhythm recalls Henry Mancini’s Lifeforce and the melody is a sped-up variation of Danny Elfman’s Batman. But whenever I listen to the score, I find my mind wandering; most of it sounds like orchestral mush. Things happen and melodic fragments drift here and there, but there’s no discernible structure and the melodies are nebulous and unmemorable. There are apparently themes for Magneto, Jean Grey, Nightcrawler,  Mystique,  and Pyro according to the ever-reliable Wikipedia, but I can’t recall any of them. There’s nothing offensive about the music, but even the main theme doesn’t appear much in the body of the score. The “Suite from X2” contains the best statement of the theme, but only the first 90 seconds and last minute are interesting, with five minutes of noodling in between. One moment I do like is the part is near the end of the film when Xavier, using Cerebro, targets every non-mutant on Earth, and there is an effective, creepy use of pipe organ. But other than that, I don’t really enjoy this score that much.

5. The Wolverine (Marco Beltrami)

Again, I don’t have this score on CD, but I did hear it in the film. I didn’t really pick up on a theme (though from what I’ve read from other reviews, there isn’t really one). It definitely supports the film, but nothing really stood out, apart from sparse use of harmonica in some of the early scenes. Music for the quiet/tender scenes is understated, and the action music is very brutal and somewhat complex—sort of a messier, less structured (and less interesting) version of Elfman’s modern action music. It wasn’t really a theme, but I did like the cue that played during the first part of the end credits (before the extra scene); it really stood out from the rest of the score in a good way. Which was probably why it was in the end credits, but that’s another topic.

4. X-Men Origins: Wolverine (Harry Gregson-Williams)

This isn’t at the absolute top of HGW’s body of scores. Much of the action cues are ostinato based but, as he often does, HGW makes good use of the choir, with some powerful writing in “The Towers Collapse.” “Agent Zero Comes For Logan” is also a pulse-pounding action cue with electric guitars. “Wade Goes To Work” is the most “modern” sounding cue, with percussive electronics and a backbeat, sort of a toned down version of some of the composer’s Metal Gear Solid material. The best part of the score is a great theme for Logan, introduced in “Logan Through Time,” which plays under the title sequence and is perhaps the best track. HGW’s distinctive choral work melds with the theme, which gets two full plays. It appears again at the beginning of “Adamantium” and gets a charged, final playing in “I’ll Find My Own Way” over ascending string ostinatos. The theme does an admirable job portraying Logan’s stoic loneliness and restrained emotion. There’s also a lovely theme for Kayla Silverfox best heard in “Kayla.” HGW has always been good at these tender themes, heard in the quieter moments of scores like Man on Fire, Spy Game, Veronica Guerin, and the first two Narnia films. Unfortunately, the score also contains a fair amount of droning, filler material. Nevertheless, the themes and action are worth listening to.

3. X-Men (Michael K-Men)

I don’t know the full story behind this score, but I do know that director Bryan Singer only chose Kamen because his regular composer (and editor) John Ottman wasn’t available. I also know that Klaus Badelt overlaid a lot of electronic material over Kamen’s score. I won’t use the term “electronic junk” because some of it actually works fine, particularly in the first part of the end credits and “X-Jet”. Because of these factors, the score probably isn’t quite as good as Kamen was capable of, but it is still a worthy effort. Much of it is low-key, but Kamen does have a very good, simple main theme and an unsettling, slithering motif for Mystique. Kamen fans will definitely recognize his delightful style in “Mutant School,” and a heartfelt theme for oboe in “Logan and Rogue” that he also used for Mr. Holland’s Opus. There’s a yeaning adagio in “Concentration Camp” (reused for the opening of First Class) and exciting action music for the climax of the film. The best statement and expansion of the main theme can be heard during the final scene and first few minutes of the end credits (also heard in abbreviated form in “X-Jet.”) The sparse use of the main theme, subtle nature of many of the cues, and electronic overlays may be a turn-off to some, but there are also undeniable highlights that make one wonder what Kamen would have achieved had he done X2.

2. X-Men: First Class (Henry Jackman)

If you watch the documentary on the Blu-ray, you can see a segment on the score where Jackman explains that his original approach was much more orchestral and full-bodied. Furthermore, the theme for Magneto seems simple because it was originally the bass line for a much more elaborate, James Bond-style theme for the character. Stripped-down as the final score is, it is still highly effective, with a great main theme for the X-Men and a simple, badass theme for Magneto with reams of electrifying action music. Shaw’s motif is similar to Magneto’s, heard in cues like “Sub Lift.” More tender music can be found for Mystique in tracks like “Would You Date Me,” and “To Beast Or Not To Beast.” Magneto’s guitar theme highlights brutal cues such as “Not That Sort Of Bank” and “Frankenstein’s Monster.” Guitar backs the main theme in “X-Training” and the introduction to the New Mutants Division and is given a Russian flavor in the aptly named “Mobilize for Russia.” “Rage and Serenity” features the theme at its emotional height as Erik learns how to harness his power and use it to its fullest extent.

Electronics are also deftly incorporated into the numerous thrilling action cues, from the boat fight and “Rise Up To Rule” to the lengthy final battle. Only half of the music for the final battle (or less) is available on CD, but can be heard on the Blu-ray’s isolated score, including fast-paced, adventurous variations on the main theme, the triumphant “Sub Lift,” dramatic renditions of Magneto’s theme for Shaw’s demise, frantic action for Erik’s final attack, and an adagio of sorts for Charles’s and Erik’s parting of ways. “Magneto” and “First Class” present final, full arrangements of the themes for the end credits. Jackman’s score is always interesting and composed with a sense of class (sorry) made even more impressive by the fact that the building blocks of the score are so simple. I would have loved to hear what he would have done had Vaughn directed Days of Future Past.

1. X-Men: The Last Stand (John Powell)

Powell wrote the best X-Men score for the worst X-Men film, an apocalyptic, raging work filled with relentless action and awesome wonder. It has to be said, before I start the raving, that there are some dull, dead spots in the early part of the score, especially before Xavier’s death. But from then on, it’s pretty much an endless action symphony. Powell wrote four primary themes for the film, each different yet able to exist with each other. The main theme builds off of Ottman’s (which in turn was built off of Kamen’s) and the first phrase bears some resemblance in shape to John Barry’s On Her Majesty’s Secret Service, but not too much. There is a jubilant, soaring theme with two distinct phrases that can be attributed to either Angel or the mutant cure. There is a menacing theme for Magneto often played on brass. And finally there is Phoenix’s theme, a vaguely exotic sounding tune that is accompanied by a women’s choir during its most raging statements. Though much of the score is action, there are effective quieter bits, found in “Angel’s Cure,” “X Funeral,” and “Skating and Rogue Leaves.”

But much of the score, especially in its boisterous latter half, showcases, Powell’s penchant for writing complex, rambunctious, almost out-of-control action music. For instance, witness the flutes 30 seconds before the end of “The Death of X” (there’s similar music in “The Phoenix Arises,” but it’s harder to hear because on top of all that orchestral craziness, there’s a chanting female choir as well.) The 20 minutes from “Building Bridges” to “The Phoenix Arises” is a non-stop maelstrom of orchestral frenzy. About 3-4 minutes or so of this is cut from the CD and in truth a bit of fatigue can set in; there is one phrase based on a shortened version of the main theme that plays just a bit too often in the complete score. But once Phoenix/Jean Grey starts disintegrating everybody, the aforementioned female choir enters and Powell has your full attention again. The album version statement of the title theme (almost identical to the end credit version) uses a rhythm from John Williams’s Superman score, while the more interesting film version draws upon Danny Elfman’s Spider-Man, with its swirling strings along with Powell’s own great use of bass strings and brass. One of the few prominent uses of electronics is the final statement of Phoenix’s theme in the end credits. The score can be slow during the first half and exhausting during the second, but it’s undoubtedly a stellar achievement as yet unmatched in the X-Men cinematic universe.

The Future

John Ottman is set to write the score for X-Men: Days of Future Past. As X2 is my least favorite X-Men score, I’m not too wildly keen on it, but Ottman may surprise me. I will say that superhero scores don’t seem to be Ottman’s forte; his scores for X2, Superman Returns, and the two Fantastic Four films were all underwhelming. On the positive side, I did like his score for Astro Boy, and his work for Jack the Giant Slayer, while not great, proves that Ottman has shown some improvement in the fantasy-adventure genre. I know he probably won’t do this, but I would like him to expand on Jackman’s highly effective Magneto theme from First Class because for the life of me I can’t remember what Ottman himself wrote for the character—and I just finished listening to X2! And I suppose a pleasant surprise from Ottman would be better than a disappointment from Powell or Jackman, but for now, my expectations remain tempered.

See also Ranking the X-Men Films

Koji Kondo

Koji Kondo is the most influential and one of the most talented composers for video games. His addictive, hummable, yet surprisingly complex tunes for games in the legendary Mario and Legend of Zelda series are known worldwide. Kondo worked on sound design and music for many early Nintendo games and actively composed full scores from the NES era to the N64 era. He provided the sound effects for Star Fox and co-composed the music for Star Fox 64 with Hajime Wakai. He wrote full scores in a range of musical styles for the primary games in the Mario and Zelda series up to Super Mario 64 and The Legend of Zelda: Ocarina of Time. After these games, he did provide musical pieces to further entries in the series, but transitioned more to the role of supervisor for Nintendo's sound division. Although much of his most popular music is synthesized and he is not classically trained, Kondo has a clear talent for melody and composition. His tunes are engaging enough to stand alongside  the best of orchestral music for media. His various tunes call to mind moods and settings from underwater sailing and exotic climates to creepy dungeons and questing adventure--many of them in 8 bit! In terms of setting up atmosphere and setting in a gaming world while still providing catchy, melodic hooks, Kondo has no peer.

Super Mario 64**

On Non-Film Music Matters

To the two people reading this blog:

Hopefully I will find time to write more stuff here. But for writings unrelated to soundtracks (mainly films, theme parks, and maybe literature) I have started a new blog.

The pointless ramblings continue! Enjoy.

http://mantismiscellany.blogspot.com

Iron Man 3, Hans Zimmer, and Melodic Themes in Modern Film Music

(Unorganized Bloated Ponderings)

Musical elitism is not a particularly attractive trait, yet I must admit in my early days as a film score fan, I exhibited it to some degree (notwithstanding the fact that I rarely vocalized my thoughts on the subject in any form, spoken, written, or otherwise). Any film music that had any hint of rock or pop elements I dismissed as lowest common denominator pap. My gradual appreciation of these elements, if done effectively, came slowly (Danny Elfman’s “Costume Montage” from Spider-Man was an early favorite).

Despite my increasing admiration for more musical styles, the rich, melodic orchestral idiom popularized by John Williams remains my decided favorite. Lush, memorable melodies bolstered by sweeping, complex counterpoint and clever harmonies—this is the kind of music that most touches, excites, and even enlightens me. Unfortunately, this style of scoring has fallen out of favor with many filmmakers, both talented and untalented. There are still composers who write great melodies and who have impeccable ears for orchestral color and thematic development—Giacchino, Elfman, Silvestri, and (of course) Williams are a few. But good melodies seem to be harder to find these days.

I will admit that when I heard the theme to Iron Man 3, by Brian Tyler, I loved it. The word ”epic” is criminally overused these days, but the theme does impart a sense of large-scale glory that I find invigorating. When one looks closer, however, one realizes that the theme isn’t too different from some of the others Tyler has written previously. Not only that, but it’s rather simple, with basic harmonies and little counterpoint and complexity. This puts the theme in “power anthem” territory.

Which brings us, as it always seems to these days, to Hans Zimmer. Zimmer’s music is far from complex, yet lots of people find it effective—probably more because of its similarity to rock and pop music than anything else. Is Tyler’s Iron Man 3 theme, then, little more than a modified Zimmer melody? I’m not a musicologist or composer, so I can’t tell whether there are compositional differences between Tyler’s theme and the common, garden-variety Zimmer anthem. What I do know is that I enjoy it, just like I enjoy many of Zimmer’s early (up to 1998) scores.

While Tyler is not quite one up on my list of the top 10 film composers working today, I still prefer him to Zimmer post-1998. This might be blasphemous, since so much of Tyler’s current style owes a debt to Zimmer. But I do think Tyler has adapted that power anthem style well, and Zimmer’s last really good power anthem was in The Peacemaker in 1997.

In fact, Tyler’s simplified style of writing these days (exemplified by scores such as Battle: Los Angeles, Call of Duty: Modern Warfare 3, The Expendables, and Transformers: Prime) resembles a path Zimmer might have taken after 1998 and his wondrous scores to The Prince of Egypt and The Thin Red Line. And I must say I may have been happier with his music had he taken a similar direction—Tyler’s more modern music does have moments of complexity not found in most Zimmer scores, but Zimmer in fact ended up going the opposite direction. He began focusing more on creating “new” sounds, though in honesty I don’t find them all that new or refreshing, and worse, the actual music began to suffer as a byproduct. I understand Zimmer’s decision to move on from his older style, but it’s the case of a film composer merely doing something different (not better) in lieu of actual growth and development; James Horner is another example. All this is my opinion, of course. And I have churned up more words regarding Zimmer than most other composers, so that’s something.

Anyway, the fact that I liked Tyler’s theme so much when it is so simple made me wonder if it was just because there are so few good melodies in film music today. That may be part of the story, but there are plenty of other recent scores with melodies I’ve liked: John Carter, War Horse, Super 8, Captain America, Alice in Wonderland, How to Train Your Dragon, Kick-Ass, Dream House, Harry Gregson-Williams’s melody for Prometheus, etc. And it’s not just the case of me going nuts over any old melody, as I’ve been underwhelmed by tunes from scores like Jack the Giant Slayer, Mars Needs Moms, The Hobbit: An Unexpected Journey, The Croods, and The Amazing Spider-Man (though with the exception of the last, I did enjoy these scores—at least they had melodies!) But it’s clear that relatively speaking, these melodic scores are sparse, outnumbered by countless drone scores now in vogue—including the score for the first Iron Man!

A bit of a tangent: It’s a microcosm within a microcosm, but the scores for the Iron Man films have certainly gotten better. I am not slamming John Debney’s great score to Iron Man 2 at all, but hearing that wonderful melody he wrote in the track “I Am Iron Man” get used only once, and almost buried by sound effects (when Iron Man suits up in the Monaco race scene) was painful. And the full “I Am Iron Man” version itself never appeared in the film—not even in the end credits! (Shades of Alan Silvestri’s score for GI Joe: Rise of Cobra). I haven’t seen Iron Man 3 as of this posting, so I have yet to hear whether the score is audible in the film. But at least the filmmakers allowed Tyler to actually use and develop his theme as heard on the album. And the less said about the first film’s score, the better.

Tyler has shown with his score to LEGO Universe that he can still write in that robust, adventurous style that he established in early scores like Children of Dune, Darkness Falls, Alien vs. Predator: Requiem, and Eagle Eye. Perhaps it is Tyler’s background with writing this kind of music that has allowed him to imbue Iron Man 3 with unidentifiable or subtle musical elements that allow the score to connect with me more than the average MV/RC score. Or I could be typing out of my posterior. If someone had told me that Zimmer wrote the score to Iron Man 3, I might have believed it. But more importantly, I still would have liked it, and hope that this would represent a style that Zimmer would continue to explore (and develop) in future scores.

Ultimately, it’s all about what’s effective to each listener. But this “essay” is an attempt for me to find out why I like something, especially when it doesn’t fit into the more lush, complex (but still accessible) style that I like and is more similar to the more simplistic music that I find, for the most part, less appealing. Maybe my musical elitism (if I ever had it) is being chipped away. Or maybe not; I still find the scores to Christopher Nolan’s Batman films terribly pedestrian (aside from some tender moments in the first two scores and, to a lesser extent, the Joker “theme”). And I can’t really be accused of being a musical elitist when I‘m a fan of film music, the “bastard child” of classical music (the little classical music I own, mostly Mahler and Beethoven, I love, and I do realize I need to hear more). In any case, I clearly haven’t been successful, and maybe that’s how it should be. Over-analyzing something you like can kill your appreciation for it, but that doesn’t preclude analysis period. However, it doesn’t take much to discern that this piece is far from analysis, and more like scatterbrained observations. One thing is certain, however: Despite listening to more than two dozen of Tyler’s scores, Iron Man 3 will be the first Tyler-scored film I’ll see (and the first I’ve wanted to see.)