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  1. I think they're both worth owning. I prefer the original for certain tracks ("Riders of Doom", "Wheel of Pain") and the rerecording for others ("The Orgy").
  2. Thor wrote
    NP: DEADPOOL (Tom Holkenborg)

    A definite highlight of the film music year so far! (although I would probably have arranged the album differently -- with the songs in one section and the score in another).

    I think Eddie the Eagle is a better Deadpool score than the actual Deadpool score.
    •  
      CommentAuthorThor
    • CommentTimeMar 7th 2016
    NP: A.I. - ARTIFICIAL INTELLIGENCE (John Williams)

    This is the expanded release (received a digital promo awhile back). Being one of my alltime favourite scores, I'm listening through to see if there is one or more tracks that I could add to the -- pretty much perfect -- OST without it losing its flow. Any tips for must-have, stand-out tracks in this (and the expanded HOME ALONE, which I've also received), would be much appreciated before I delete them from my harddrive. So far, I haven't really found anything that I want to add.
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeMar 7th 2016
    Edmund Meinerts wrote
    I think Eddie the Eagle is a better Deadpool score than the actual Deadpool score.


    Everything is a better Deadpool score than the actual Deadpool score, including silence.
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      CommentAuthorThor
    • CommentTimeMar 7th 2016
    Keep the DEADPOOL hatred coming! I'll just love it more and more!
    I am extremely serious.
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 7th 2016
    I wonder... if we all started loving DEADPOOL would Thor eventually hate it?!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
  3. Anyone seen the first 6 voyages of Sinbad?
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorMartijn
    • CommentTimeMar 7th 2016
    Captain Future wrote
    Anyone seen the first 6 voyages of Sinbad?


    Did you misplace them again?
    'no passion nor excitement here, despite all the notes and musicians' ~ Falkirkbairn
    •  
      CommentAuthorSteven
    • CommentTimeMar 7th 2016
    He no doubt Lost them in the World of Sinbad.
  4. They probably got lost in the Seven Seas.
    Bach's music is vibrant and inspired.
    •  
      CommentAuthorDreamTheater
    • CommentTimeMar 7th 2016 edited
    WILLIAMS ON WILLIAMS

    LINK

    I just love compilations like these... you take a small selection of the best themes of a brilliant composer and you let that man conduct his own music with the Boston Pops orchestra playing the pieces. In one word: HEAVEN !

    But what I dig the most is there are concert versions of cues here that I haven't heard anywhere else, most notably from Hook.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorThor
    • CommentTimeMar 7th 2016
    DreamTheater wrote
    WILLIAMS ON WILLIAMS

    LINK

    I just love compilations like these... you take a small selection of the best themes of a brilliant composer and you let that man conduct his own music with the Boston Pops orchestra playing the pieces. In one word: HEAVEN !

    But what I dig the most is there are concert versions of cues here that I haven't heard anywhere else, most notably from Hook.


    My alltime favourite compilation, and -- if memory serves -- in my top 10 or 20 of favourite soundtrack albums ever! And to imagine I found it for a measly 20 NOK (about 2 Euro) in a cut-out bin way back in the mid 90s. Hence it also qualifies as one of my best music purchases ever. Lots of things going on here.
    I am extremely serious.
  5. The Barrel Chase from Jaws (which is currently playing smile) just sounds terrific and full of fury and passion. Imagine if the remainder of the score was recorded along with this cue. I don't know about the new release of Jaws, but I'd buy a Boston Pops version of Jaws in an instant. cool
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorSteven
    • CommentTimeMar 7th 2016
    The Mummy (Deluxe Edition) Jerry Goldsmith

    I'm always amazed at how close Silvestri got to writing something as equally good as this.
  6. It's hard to believe that Jerry wasn't inspired at all by that film (I read somewhere he hated it, so he wouldn't return for Sommers' next films), because what he gave us fans must be one of his very best and fun scores.
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
    •  
      CommentAuthorThor
    • CommentTimeMar 8th 2016 edited
    DreamTheater wrote
    It's hard to believe that Jerry wasn't inspired at all by that film (I read somewhere he hated it, so he wouldn't return for Sommers' next films), because what he gave us fans must be one of his very best and fun scores.


    That doesn't sound very likely. If he hated Sommers' films so much, why did he return to THE MUMMY after the even more B-movie oriented DEEP RISING? If he said that, I think it's more a sign of frustration that he no longer got any 'edgy' projects, and instead was "forced" to do mainstream Hollywood productions.

    Personally, I think THE MUMMY is my alltime favourite Goldsmith score. Big fan of the film as well. Whatever the composer may or may not have said.
    I am extremely serious.
  7. Yeah sure, the film is loads of fun. But maybe the experience of Goldsmith working on it turned him off of working with Sommers again. I know I read that somewhere (probably FSM).
    "considering I've seen an enormous debate here about The Amazing Spider-Man and the ones who love it, and the ones who hate it, I feel myself obliged to say: TASTE DIFFERS, DEAL WITH IT" - Thomas G.
  8. I've always felt it weird that after all the decades of tripe Goldsmith had to put up with, it was The Mummy - no masterpiece, obviously, but essentially harmless fun - that pushed him over the edge. Perhaps it was a straw-that-broke-the-camel's-back thing, but still...
    •  
      CommentAuthorSteven
    • CommentTimeMar 8th 2016
    Edmund Meinerts wrote
    The Mummy... Perhaps it was a straw-that-broke-the-camel's-back...


    An appropriate idiom.
  9. face-palm-mt biggrin
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 8th 2016
    DreamTheater wrote
    It's hard to believe that Jerry wasn't inspired at all by that film (I read somewhere he hated it, so he wouldn't return for Sommers' next films), because what he gave us fans must be one of his very best and fun scores.


    I think Goldsmith was inspired by the subject matter (classic action adventure film) but I do remember him being quoted as saying that he hated the film, which is the reason why he didn't return for the sequel. I also heard that Alan Silvestri was Sommers' first choice to score Deep Rising AND The Mummy but there were scheduling conflicts that prevented the collaboration.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeMar 8th 2016 edited
    NP: JOURNEY TO MECCA (Michael Brook)

    Brook is about as skilled in folkloristic music research as Mychael Danna, and this is no exception -- a great display of hardcore Middle-Eastern tropes. It's not THE MUMMY (which is basically Middle Eastern tropes channeled through a traditional Hollywood soundscape), and it's not quite as strong as last year's JERUSALEM, but I like it.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeMar 8th 2016 edited
    NP: THE DEVIL AND DANIEL WEBSTER (Bernard Herrmann)

    The Sedares/Koch recording. Is there another? The score is great, of course (Herrmann's only Oscar win), but the sound has always bothered me. Too distant and muffled and echo-ey. Have to jank the volume to max to hear anything.
    I am extremely serious.
    •  
      CommentAuthorSouthall
    • CommentTimeMar 8th 2016
    Edmund Meinerts wrote
    I've always felt it weird that after all the decades of tripe Goldsmith had to put up with, it was The Mummy - no masterpiece, obviously, but essentially harmless fun - that pushed him over the edge. Perhaps it was a straw-that-broke-the-camel's-back thing, but still...


    I was there when he said what he said about The Mummy, but it's so long ago I can't remember exactly what it was! It was a pre-concert talk in London. He said something like: he'd been doing rehearsals for the concert during the day, going back to his room at night to write music for a piece of shit called The Mummy but at least it let him have some fun with the music. I was pretty shocked to hear him talk like that about a film that hadn't come out yet (obviously, since he was still writing the music). He was 70 by then and I guess he just decided he didn't want to work on things he didn't like any more - or maybe he was just in one of his famous bad moods.
    •  
      CommentAuthorThor
    • CommentTimeMar 9th 2016
    Southall wrote
    He was 70 by then and I guess he just decided he didn't want to work on things he didn't like any more - or maybe he was just in one of his famous bad moods.


    Yeah, that, or general frustration about the state of affairs. I cannot believe how something that sounds so fantastic and inspired was created out of lackluster motivation.
    I am extremely serious.
    •  
      CommentAuthorThor
    • CommentTimeMar 9th 2016
    NP: EDDIE THE EAGLE (Matthew Margeson)

    Again. Yeah, a lot of it sounds like ALF, but that's the charm.
    I am extremely serious.
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 9th 2016
    Thor wrote
    Southall wrote
    He was 70 by then and I guess he just decided he didn't want to work on things he didn't like any more - or maybe he was just in one of his famous bad moods.


    Yeah, that, or general frustration about the state of affairs. I cannot believe how something that sounds so fantastic and inspired was created out of lackluster motivation.


    How can you be surprised? dizzy Goldmsith did this all the time!

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorErik Woods
    • CommentTimeMar 9th 2016
    Thor wrote
    NP: EDDIE THE EAGLE (Matthew Margeson)

    Again. Yeah, a lot of it sounds like ALF, but that's the charm.


    Funny you mention that because "Sporting Chance" is a GIGANTIC rip off of the Official Calgary '88 Main Theme by David Foster, which also sounds like Alf.

    -Erik-
    host and executive producer of THE CINEMATIC SOUND RADIO PODCAST | www.cinematicsound.net | www.facebook.com/cinematicsound | I HAVE TINNITUS!
    •  
      CommentAuthorThor
    • CommentTimeMar 9th 2016 edited
    Yeah, lots of Foster as well. I'm not sure what came first, though. I think Dave Grusin did this kind of acid/pop-type jazz long before either Foster or ALF (Williams channeled some of that sound in "Banning Back Home" from HOOK, as you know).
    I am extremely serious.
    •  
      CommentAuthorSteven
    • CommentTimeMar 9th 2016
    Islands In The Stream Jerry Goldsmith

    Wasn't this supposed to be the composer's favourite score? I can't say I understand why. It's all very Goldsmithian, pleasant enough, but it's always failed to get my attention. It's a classic Goldsmith score without a classic Goldsmith theme.