I can't say i'm really familiar with most of his music.But i've heard nothing but great
things about his work and I am always on the lookout for something new.

So if you guys have any comments and/or suggestions about some of his lesser known scores,they would be greatly appreciated.

NP: Six-Pack(Elia Cmiral)

Winter People (Not really listened to, but plan to)
Prayer for the dying rejected (Same as above)
King Kong Lives- now this one i can comment on. Overall it good score. HE held it together nicely and it has some nice thematic feel once and awhile. There are some great themes in it, but it has it's down side. Like Elfman's First Men In Black, it had some very nice themes in it, but the rest of the score just falls apart and doesn't fit well together, or it skips from good to bad to good in one cue. Not being able to attain total audio aesthetic pleasure, such as say, Signs.
So that in a not shell is KKL.

Antony & Cleopatra was the very first John Scott score I've heard, and, even before the first track was over, I was hooked. This has to be the number one best John Scott score ever!
A true epic love story, the movie is based on a tragedy by Shakespeare, directed by Charlton Heston. What got my attention the most, I suppose, would be the themes, and the large male and female choir. Both are absolutely stunning, and when combined it's just breathtaking! For example, "The Barge She Sat In" comes to an extremely huge and powerful climax of the Cleopatra theme. The whole score is based around two dominant themes, the Love Theme and Cleopatra's theme, with minor themes for Antony, Caesar, and Octavia, which help clarify most of the action. This is the case in "The Battle of Actium," where themes helped identify the fleets and Cleopatra's influence over them. "Give me to drink Mandragora" is a mystical track with chimes and creaking sound effects that would later be used in Scott's score for 20,000 Leagues under the Sea. "The Death of Antony" features both the Love Theme and Antony's theme, treated in a most delicate way before going off into dissonant "Pretty Worms of Nilus." The final track, "Eternal Rest," is not a big, grand finale cue, but rather soft and dreamlike, featuring one of the most haunting uses of the choir.

Everything about this score is just brilliant, there is nothing anyone wouldn't like - it's a hauntingly thematical score with majestic moments. The nine minute "Overture" is a perfect suite of the score, and worthy of any compilation.

The original score was performed by the London Philharmonic Orchestra and Choir but was not made available until 1992. Re-recorded by the Berlin Radio Symphony and Voices. The performance is really perfect! This is a score that has to be in everyone's collection, whether you are a John Scott fan or not! It's a true classic. It's truly mind-boggling why John Scott is not an A-list composer, because he composes A-class music for movies, and Antony and Cleopatra is the best of the best! 5/5

My second favorite is one called Far from Home: The Adventures of Yellow Dog

Directed by Philip Borsos, this adventure film is about a young boy named Angus and his dog, who are thrown overboard during a storm at sea. The boy and the dog are swept to an isolated island and can do nothing but survive Mother Nature and hope to be rescued.
John Scott's adventure score to accompany the boy and dog's struggle to survive is simply wonderful. What I like so much about this score is that it's always interesting. There is not one dull moment - the music makes it easy to visualize what's going on in the film, and also expresses Angus's emotions of having and losing hope while stranded for weeks.

The main theme, which has many variations ranging from mystical to adventurous to sad to heroic, is a symbol of the bond that Angus has with Yellow, as they must depend on each other for survival. There is also a theme that represents Angus's longing and love for adventure in his life.

There are so many highlights in the score, I just can't mention them all. Some really great cues include "Storm at Sea," which continues into "Rescue Operation." These great action pieces feature lots of brass and snare drums.

"Lighting the Beacon" is energetic - a great motif on stings - leading into a victorious rendition of the main theme as Angus sees a plane flying above and tries to call attention to himself with a self-made beacon. "The Trek" is a darker piece with a sense of determination as Angus treks through the forest looking for civilization, ending with a feeling of doom.

"Lost in the Wood" begins with a mournful string theme that captures Angus' feelings of not being able to make it. As suspense builds when Angus is confronted by obstacles in the wild, the score is filled with great action music ("Attacked by Wolves," "Crossing the Chasm" and the "The Lynx").

In the final tracks, "Angus Rescued" and "A Joyous Home Coming," the main theme gets the heroic Goldsmith treatment, and the longing for adventure theme gets a full rendition. The "End Title Suite" is fantastic.

This CD is highly recommended for anyone seeking a fresh musical experience or anyone who likes adventure scores. John Scott may not be a well-known composer, but he has over 35 years of scoring experience, and approaches his scores with the same maturity as Jerry Goldsmith or John Williams. Highly recommended. 5/5

Another really great one is 20,000 Leagues Under the Sea
This is John Scott's score for the film starring Ben Cross (not to be confused with the ABC TV miniseries from the same year scored by Mark Snow, starring Michael Caine).
I suppose by composing music for so many underwater Jacques Cousteau documentaries, Scott had already perfected his skills at scoring for the deep sea. This music is haunting and sets the mood for sub-marine exploration, ranging from light and mystical to more dark and atmospheric as the story moves deeper into the sea. The music also becomes violent with loud action music, as heard in "Saga of the Abraham Lincoln" and "Set Upon by Sharks."

The main theme of the score is focused on Captain Nemo and the Nautilus, whose characters are commanding, restless and devious. Nemo's second theme is more like a love theme, usually played by an oboe and strings. This theme is best heard in "Mount Atlantis," which also features some dramatic, opera-like female vocals.

Sophie, Ned and the war ship Abraham Lincoln each have their own themes, which represent their characters very well. Sophie's theme also becomes a love theme later when she has relations with Ned. The climax of the score starts with the eerie "Monster from the Depths," which is really sinister and has a noticeable choir. A lush performance of Nemo's secondary theme is heard in "Pearls."

I recommend this to all - it's one of John Scott's most creative scores. The haunting underwater sea music and action cues are really great, as well as the themes for the characters. 4/5

And a really fun one is Shogun Mayeda
Shogun Mayeda is a Japanese adventure film set in the 17th Century, directed by Gordon Hessler. Composer John Scott saw the film as two movies in one: the first, a serious account of the "Battle of Sekigahara," which led to a delegation being sent to Europe; the second, a swashbuckling adventure story filmed in Spain and Morocco. This was a perfect opportunity for Scott to write an epic action adventure, and that is just what he did.
Shogun Mayeda opens with an adventurous main theme performed on brass that has three variations throughout the score. First, as in the "Main Title," it is slow but dramatic, and builds to a grand finale. Second, as in "Inner Strength," the music is usually faster and swashbuckling (this version of the theme could compare to scores like Cutthroat Island). Third, my favorite of the three, is during the sailing sequences, as in "Set Sail," the theme is given a soaring treatment on strings.

Two other themes appear, one being of the mournful kind that appears when someone dies in battle ("Mayeda's Grief" and "Memories of the lost Ones"). The other is a love theme that appears near end of the score, heard in ("Celilia declares Her Love," "Bath-time Onboard" and the most impressive "Leaving Morocco"). For those who have heard Scott's love theme from Red King White Knight, this one is even better. Scott really has a knack for composing stunning themes for any context.

The battle and action sequences spanning from Japan to Morocco are absolutely great, and anything Scott wrote for these scenes can easily be included in adventure compilations. The action is not bombastic or extremely loud, as it is in Cutthroat Island, but it still provides the same kind of adrenaline rush. "Attack on Yorimune" and "Storm at Sea" have the same brilliance as John William's action-adventure music. My favorite track is "Pirate Attack." Its almost sinister use of the main theme, supported by pounding percussion, is stunning. It is easy to see the cannon balls and sword fights on taking place on the pirate ship.

The only complaint I have, and it is just a small one, is Scott's lack of ethnic music to identify Japan, Spain, or Morocco. He does not take much advantage of showing these location through the music, although he does give small hints with a few Taiko drums beats or Japanese harp plucks. There are some flamingo tap dancing effects ("The Kings Protectors") and a Spanish flavored orchestral theme ("Duel with Don Pedro") for the Spanish setting, however, the score is mostly in the western approach.

Shogun Mayeda is one of the best John Scott scores I own, and I think it's brilliant! It makes me wonder why Scott isn't an A-list composer. He is about 70 years old now and it would be a shame if he died, and no one knew anything about him! If you find this out of print Intrada CD, I suggest you grab it. It is truly worth the asking price! 5/5

More of my comments are here http://www.moviemusic.com/composer.asp?id=scottj

Other notable mentions are
Ruby
Walking Thunder
Swiss Family Robinson
Becoming Colette
Yor: The Hunter from the Future
William the Conquer

NP- Phantom of the Opera - Car lDavis

ANTONY AND CLEOPATRA

ANTONY AND CLEOPATRA