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      CommentAuthorThor
    • CommentTimeMay 19th 2017 edited
    BobdH wrote
    I'm trying to find the logic in your reasoning, but I'm genuinely surprised you're annoyed about the discussion veering into the old and tiresome C&C debate while Thomas clearly referred to simply re releasing this out of print title so soon (his words) without referring to the contents of the release, while you explained your choice of word of 'superfluous' does refer to it being C&C in your mind, thus getting the discussion in that territory, even though I don't agree with it.


    You're making it out to be more complicated than it is, Bob. There are two issues that are sorta related. I think:

    a) this release is superflous, because it has been sufficiently covered in the past, both for 'album fans' and 'C&C fans'. A new release -- if it is indeed necessary due to limited availability, for example -- should IMO be reissues of either of these, preferably the first.

    b) I'm saddened that the situation is such these days that the C&C craze has caused people to talk more about missing music than the actual music (not only here, but in most messageboards I frequent), in turn resulting in absurd releases like this.
    I am extremely serious.
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      CommentAuthorBobdH
    • CommentTimeMay 19th 2017 edited
    Well, to make it even more simple, my confusement of this discussion stems from you saying:

    A) I'm against this release because it's C&C
    B) Why are we always talking about the C&C'ness of releases?
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      CommentAuthorThor
    • CommentTimeMay 19th 2017 edited
    First of all, I'm not only against it because it's C&C, but because it's so outlandishly beyond even that (analogue and digital version of the whole score? Really?! Do we need that?). Second, my issue in this particular case was more the 'discussion climate' in film score land, and how that may result in such releases in the first place. This doesn't necessarily mean that one must also discuss the pros and cons of C&C.
    I am extremely serious.
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      CommentAuthorBobdH
    • CommentTimeMay 19th 2017 edited
    Okay, I think you simply chose the wrong release to bring this up (for reasons I've been trying to explain, but you don't want to get into), and responded it to a discussion that wasn't exemplary of the point you were trying to make.

    In the general sense, sure, people talk too much about missing music which may result in labels adding to much to their releases, but I'm glad Intraday separated the listening experience from the bonus content on a separate disc so it caters to both parties, everybody happy.

    And I don't think the talk on message boards is the main reason these releases get more elaborate, it's also simply the case of wanting to do something new when you get to rerelease something, and if the material is there, why not?
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      CommentAuthorBobdH
    • CommentTimeMay 19th 2017
    Thor wrote
    (analogue and digital version of the whole score? Really?! Do we need that?)


    On a separate disc! At no extra cost! If there are people out there that are happy about it, why not?!
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      CommentAuthorThor
    • CommentTimeMay 19th 2017 edited
    Yeah, that's the big difference between us -- I don't have such a casual relationship to these things (i.e. "if people are happy with it, why not?"). I see them as symptoms of things that I don't think are particularly healthy for the film score community as a whole, especially in the way we relate to and talk about soundtrack albums. I've obviously felt this way about the C&C craze for many years, but when a release like this appears -- which I think goes beyond even that -- I feel it's worth pointing out.

    I remember making a similar statement on FSM when the 3CD BREAKDOWN (Poledouris) release came out several years back, and it caused all kinds of havoc. That is of course another negative aspect of the 'new discourse' ("if you don't like the way a soundtrack is presented, don't buy it! Just shut up!"). Fortunately, it's not quite as bad here on Maintitles.
    I am extremely serious.
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      CommentAuthorBobdH
    • CommentTimeMay 19th 2017 edited
    Thor wrote
    Yeah, that's the big difference between us -- I don't have such a casual relationship to these things (i.e. "if people are happy with it, why not?").


    I don't think I have a casual relationship towards the C&C craze, but a realistic one. Personally, I'm against it because C&C more often than not prevents the listening experience from being a good one, but I acknowledge the fact that many do want every minute of music. This thing evolves: at first labels were like, "LETS THROW IT ALL ONTO A DISC AND THEY ARE HAPPY", which in my mind destroyed my enjoyment. However, that also got a backlash, and now labels recognise the importance of the listening experience and separate the soundtrack album programme from the 'extra's', separately on another disc. I applaud this and think we should applaud releases like POLTERGEIST II, because it provides both parties a great experience (especially since the C&C crowd is already open to the idea that they arrange their own album, as opposed to the detractors of it, who simply want it all in a perfect way on disc, such as myself).

    It's fine to criticise the releases that get it wrong, but I fail to see how Poltergeist II is so wrong, and if you start moaning about every release without giving it a proper thought, you lose credibility and it works counter-productive towards your goal.

    You don't stop this movement, but when a release is fairly priced, provides a good listening programme... who the fuck cares it ALSO contains stuff other people love? I really, really fail to see how that is destroying the system.
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      CommentAuthorThor
    • CommentTimeMay 19th 2017 edited
    OK, realistic/pragmatic, then. Again, I'm less interested in pragmatics (I'm well aware I can't stop the movement) and more interested in ideology (I can at the very least be critical of said movement when the occasion calls for it).

    I agree that the idea to have the original album also included in the "expanded package" was a step in the right direction, but that doesn't apply to this release. It has the complete (and presumably chronological) presentation of the score, presented TWICE! Plus "extras"! Then you may argue: "Sure, but then you can just select and arrange the tracks in the order of the original OST!". I don't subscribe to this 'interactive' soundtrack album use, even if there is an original program you can use as guidance.

    Plus, it's really beside the point here. My main contention was how releases like this are both a result of, and resulting in a type of discourse that deals more with quantity, archeology, documentation etc. Something has been lost along the way there.
    I am extremely serious.
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      CommentAuthorBobdH
    • CommentTimeMay 19th 2017 edited
    Never mind, I've already argued against what you're saying here why you think this release is C&C, and I basically fail to see how this isn't another version of your rant against C&C releases to bring up again, albeit another aspect of it (the talk about it and how it fuels it), but still the same discussion.
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      CommentAuthorBregt
    • CommentTimeMay 19th 2017 edited
    I have to step in! Can we quit this discussion here, since it has been going on over the course of times a few times now. Please continue it in a separate topic?

    Thanks!
    Thor wrote
    Soundtrack collecting has turned into "Archeology 101".

    However, this was a funny statement, and I want to leave it with this comment. biggrin
    Kazoo
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      CommentAuthorThor
    • CommentTimeMay 19th 2017
    OK!

    Jerry Goldsmith.
    I am extremely serious.
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      CommentAuthorSouthall
    • CommentTimeJul 30th 2017
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      CommentAuthorSouthall
    • CommentTimeDec 29th 2017
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      CommentAuthorSouthall
    • CommentTimeJan 8th 2018
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      CommentAuthorSteven
    • CommentTimeJan 8th 2018
    I'd never read anything about this score until now, and, for one reason or another, always assumed it wasnt worth hearing. Thanks for the review, I'm going to seek this one out now. beer
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      CommentAuthorSouthall
    • CommentTimeJun 22nd 2018
  1. Leigh Philips (the synth re-creator on "Damnation Alley") did an arrangement of Jerry's rejected score to "The Public Eye":
    https://twitter.com/LPFilmMusic/status/ … 0570463235
    The views and opinions of Ford A. Thaxton are his own and do not necessarily reflect the ones of ANYONE else.
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      CommentAuthorMarc
    • CommentTimeJun 10th 2019
    Here's the awesome "Camel Race" cue from the Mummy with more horn and trumpet ^^

    => https://www.youtube.com/watch?v=QihkS9Utujw
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      CommentAuthorSouthall
    • CommentTimeSep 21st 2019
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      CommentAuthorSteven
    • CommentTimeSep 23rd 2019
    like all the great film composers of his time he had the knack of capturing a whole movie in a two or three minute theme, and this is one of the best examples.


    Oui.
  2. I'm really attached to the Intrada version of the score, I have to say. It's only a couple of minutes, but made me realize that it's the best score of that franchise.
    http://www.filmmusic.pl - Polish Film Music Review Website
  3. What is the best album to get for a good representation of Goldsmith's original series scores for 'The Twilight Zone'? I love his score for the film but this afternoon I've been listening to Herrmann's scores for the series which I've long enjoyed but they've given me a hankering to listen to Goldsmith's which I've never heard. Any recommendations appreciated!
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      CommentAuthorThor
    • CommentTimeSep 30th 2019
    Wish I could help you; I only have a connection to his TWILIGHT ZONE: THE MOVIE. I've never seen a single episode of the show or heard any of the scores (outside the famous theme, of course). I really should, though, because Williams plays piano on some of these episodes, and I gotta see everything Williams-related.

    I'm guessing this set from 20 years ago is the most representative:

    https://www.amazon.com/Twilight-Zone-An … B00001T3JT

    But I'll leave the recommendations to people who have more knowledge about this than I.
    I am extremely serious.
  4. What a kooky reason to decide to watch something. dizzy
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      CommentAuthorThor
    • CommentTimeOct 1st 2019 edited
    Why?

    I'm going to spend the rest of my life researching everything I can about every aspect of Williams' career -- hopefully resulting in some sort of book down the line (or if not, the pleasure is in the "hunt" itself). If you're a Williams completist, it's not a 'kooky reason' at all.
    I am extremely serious.
  5. Thanks Thor, after a bit of digging that 40th anniversary set from 1999 does indeed seem to be the one to go for.
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      CommentAuthorThor
    • CommentTimeNov 22nd 2019
    Pocket review of AIR FORCE ONE - The Deluxe Edition:

    http://celluloidtunes.no/air-force-one- … goldsmith/
    I am extremely serious.
    • CommentAuthorJoep
    • CommentTimeDec 9th 2019
    Knowingly, Air Force One was a rushjob, a cue such as The Hijacking demands a sketch/demo/alternative track to grasp how Goldsmith got it done. That is my only complaint concerning this deluxe edition.... And the Trump and the family theme, because, really, the action material remains amazing.
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      CommentAuthorThor
    • CommentTimeJun 3rd 2020
    Norwegian review of THE SWARM (Google translate if interested):

    http://celluloidtunes.no/the-swarm-jerry-goldsmith/
    I am extremely serious.
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      CommentAuthorBobdH
    • CommentTimeAug 17th 2021 edited
    Just noticed First Knight is back in stock over at La La Land, with a ‘last batch’ warning. This is tempting… I’ve never really gotten into this one, but I’ve never actually tried either. Now that I’m trying to delve into Goldsmith it seems like a must?