Holko

Brody (Roy Scheider) from Jaws!

Why can't he stick to a good writer?

No, he means these vinyls. And the answer is no, please don't buy shit from these shits. And don't watch their shit shows. They need to be shown they can't keep getting away with lowest possible effort trash.

Locking in on these shit programs on the stupid antiquated format too, lovely

If there is any. Perfect for judging the new source/mix! The old Species for example isn't even in the store, let alone samples of it.

So Intrada really stopped providing samples for everything, huh? Leaving us to judge the release for purchase on nothing but the artwork and tracklist... which as we all know they're really, really strong at. Sigh

So let's revisit this a little... HP4, hell yes, it'll be amazing Hobbits, hell yes, they'll be amazing Blade Runner hell yes Pirates trilogy, yes they need proper complete releases Spider-Man 2 and 3 need them too, all the music from all the composers Rosenmann's LotR, hell yeah I'd still buy that But what else can i think of? Once Upon a Time in the West from a non-shit source Hunchback of Notre-Dame: The Not Fucking Shit Edition Little Shop of Horrors, there are big film/album song differences, the "iso score" that's out there is kind of a mess of sources with varying quality The Prince of Egypt completely complete! Rocky Horror Picture Show completely complete! The Dark Crystal complete from a real source! Neverending Story with all of both composers' music including album pieces and the song too Brainstorm complete film and album recordings Sleepy Hollow done by someone with brains and ears One dream is a deluxe set of Pink Floyd's The Wall with the remastered movie on blu, the album, and the film version of the album The Ghost and the Darkness with a more senseful program with more attention to the sound maybe? The treble boosting Doug did really raised the hiss on some cues. Not a huge priority though The Mummy from a better source? Again not a huge prio, with a combo program it's good enough And a bunch of hungarian movies you guys won't care about But like I said in the original post, I'm also happy with exploring all the other good stuff coming our way - last year was a little duller from my POV but I still got surprise releases I never heard before but love now!

They are but the main program, maybe with some help, definitely presents a fuller more satisfying journey. The OST also shortens multiple cues. ...yeah, with the stupid OST inclusion and multiple alternates only having a short different section (30 seconds in a 5 minute track or 10 seconds in a 7 minute one), if you remove all the repetition of the same takes then there's around 90-100 minutes of unique music on the set. I grew to love the score but that was a hard sell for 60€.

Try the Prometheus rerecording so the sometimes weak performance and awful recording doesn't block you from enjoying the music!

You mean images?

Reported Jay for necroing.

Was it incomplete or out of order or something?

Late 70s, scifi horror... a match made in space!

Nope, The Emperor is the Emperor death cue. Rebel Briefing is the finale with the film-used Han/Leia/Wicket version and the not used funeral pyre version. Also Separation of the Family is actually one of the many versions for the reunion of the family at the end.

My mantra while writing it out was "make Daddy Jay proud"

A 5 minute track was recorded to play throughout the scene, the walk through Diagon Alley was meant to be scored by the woodwinds and witchy fiddle. Then a "Reveal insert" was recorded to change the start of the reveal into an orchestral swell because it wasn't magical and awe-inspiring enough. Williams liked the music he wrote and expanded it into a longer, slower tempo concert piece in his Harry Potter Children's Suite for Orchestra, "Diagon Alley". For the original 1 disc soundtrack album release, Williams replaced the opening portion of his full recorded track with part of the Diagon Alley concert piece, this is "Diagon Alley and the Gringotts Vault" as you know it. For the movie, the filmmakers decided the reveal needed more of a warm happy reveal and excitement than a weird new world, so they replaced that same opening section with a latter track that Williams wrote for entering the Great Hall. (Confusingly, the track on the 1 disc soundtrack album called "Entry into the Great Hall and the Banquet" does NOT contain this entry music, only the banquet music.) The film also appends part of "Hermione's Feather" to the start of the track for the bricks moving out of the way. The LLL expanded release linked above has the original recorded track combined with the Reveal Insert in Disc 1 track 7, "Diagon Alley and The Gringotts Vault [Extended Version]", the Great Hall entrance in Disc 1 track 13, "Through the Doors", and the concert piece in Disc 3 track 8, "Diagon Alley". The original recorded opening of the track for Diagon Alley, the Reveal Insert, the full unedited concert piece and Through the Doors all premiered on the set, they were never before released, they were only available in a recording sessions leak with the exception of the Reveal Insert. I've done two videos about how the original opening and the reveal insert opening would've worked in the film:

I'm not sure if I've even listened to this one since I did the iso score but now I did (needed a short sweet listen after last night's Requiem for Humanity aka A.I. ) and man, what a lovely perfectly flowing main program! Mike worked wonders with this mess of tiny cues and many versions.

I came across a local concert ad on fb the other day, looks pretty cool!

No, that's the transition between two cues, we have them in the leak. The film combines them well but OST combined them kind of weirdly and that was also for some rrason replicated in the main program.

Oh yeah, and near the end of Moore I was thinking about how Indy with its partial Bond inspirations had already far surpassed the series by this point... then TLD vindicated me with its Indy callback with the plane engines

So since I finetuned some of this recently anyway, why not just do a breakdown? I'm not a huge fan of some of Kamen, but unfortunately based on what I tried so far that "some" isn't "these scores" but "half of every score". But I like the other half of this one too much so I refocused it onto the action and repaced it, using the 3 disc LLL as a base of course, lining up every version of every cue to choose the best ones or combine/microedit them, removing sections I didn't like/I thought were bogging it down etc. 01 - Main Title - 1/08 Approaching the Vault (slightly shortened ending) + sleighbell percussion loop from 3/10 Under the Table (His Bag is Missing (Film Edit) + 1/01 Main Title. Okay so what I actually did here was take Main Title, extend its sleighbell loop opening a lot with the useful long clean version included in Under the Table's film edit, then I wanted to join it to the string piece so that the extended loop starts slowly fading in with the last held note as it also increases in volume, and Main Title starts exactly when the final note ends, with the full volume loop taking over satisfyingly. But the held note didn't have the correct length for that so I shortened it a bit so that just the right amount of loops fit exactly into it. This is still one of my favourite assemblies ever, using this solo low string 9th as kind of an overture. 02 - Seeing Holly - 3/02 Seeing Holly (Film Mix) 03 - Terrorist Entrance - 1/03 Terrorist Entrance, with the silly section at 0:54-1:01 removed, the space between the 3rd and 4th brass note at 3:08 cut in half to give it more of a groove, and the silence from 3:10-3:14 removed. 04 - The Phone Goes Dead / Party Crashers - 1/04 The Phone Goes Dead / Party Crashers 05 - John's Escape / You Want Money - 1/05 John's Escape / You Want Money with the silence at 0:18-0:20 shortened, and 1:35-1:55, 2:26-3:08, 4:05-end removed since the track dragged a lot. 06 - Tony Approaches - 3/06 Tony Approaches (Film Mix) 0:00-0:08 + 2/14 Tony Approaches (Alternate) 0:08-1:04 + 1/11 Tony and John Fight 07 - Al Powell - 1/16 Have a Few Laughs / Al Powell Approaches with 0:00-0:53 removed. 08 - Under the Table - 3/10 Under the Table (His Bag is Missing) (Film Edit) 0:00-1:17 + 1/17 Under the Table - I love this sleighbell loop, thought this was a tension cue worth extending. 09 - Yippie Ki-Yay - 1/19 Yippie Ki-Yay 10 - Assault on the Tower - 1/21 Assault on the Tower with 1:49-2:08 removed with a seamless transition, the silence at 4:53-4:54 and the silence at 6:11-6:12 shortened since the track was a bit choppy. 11 - Attention Police - 2/17 Attention Police (Pick-up Opening) 12 - John is Found Out - 3/11 John is Found Out (Film Mix) 0:00-2:50 13 - Shoot the Glass - 1/25 Shoot the Glass with 1:56-2:14 removed. 14 - I Had an Accident - 1/26 I Had an Accident (Extended version) 15 - Packing Up - 2/18 The Vault (Alternate) 1:45-end. I moved it here to space out the two downer tracks with a "cutaway" and because I felt it was a little too much at the end of The Vault after we already had an extended fadeout with the same ostinato. 16 - John's Despair - 2/21 Message for Holly (Revised Version) - I thought this version was more bleak and fit here better as the low point. 17 - The Vault - 2/01 The Vault (Film Edit) 0:00-1:15 + 2/18 The Vault (Alternate) 0:48-1:18 + 2/01 The Vault (Film Edit) 1:41-2:09. This was tricky, I like the first part of the film version but I don't like the inconsistent tempo and synth choir in the second part so I grabbed that section from the alternate which I like a lot, but for the ending the alternate sucks so I had to go back to the film version. Phrases had to be carefully crossfaded to make the transitions smooth, since the alternate doesn't have the synth twinkle that's still fading out when the section starts in the film version, and the endings have different instrumentation including a loud cymbal crash fading out for a time in the alternate. 18 - Message for Holly - 3/15 Message for Holly (Original Version) (Orchestra Only) - This version has more of a determined "fuck it let's go" ending so it fit better here before the Battle. Also to hell with that synth guitar. 19 - The Battle / Freeing the Hostages - 2/04 The Battle / Freeing the Hostages with 0:58-1:14 seamlessly removed, the cues seamlessly joined from 3:02 to 3:07 to remove the long silence between them, and 4:18-4:25 removed. 20 - The Showdown - 2/06 The Helicopter Explosion And Showdown 0:38-end 21 - Happy Trails, Hans - 2/07 Happy Trails, Hans 0:00-1:00 + one cycle of the sleighbell percussion loop from 3/10 Under the Table (His Bag is Missing (Film Edit) + 2/22 Happy Trails, Hans (Tracked Film Edit) 0:00-0:54, with the gap at 0:45-0:46 also shortened a little bit to fit the rhythm better + 2/07 Happy Trails, Hans 1:00-end. So uh, I like the Kamen cue, but I think the film edit is too iconic and has much more tension and a great release. So I just combined the two, the sleighbell is only there to start the loop earlier and help bridge that transition. 22 - We've Got Each Other - 2/23 We've Got Each Other - Hey, listen, I think the tracked cues work perfectly to achieve the finale that the score proper is lacking, a fakeout happy ending, a sudden action and triumphant finale, and then a real happy ending. The only problem is they should've fucking told Kamen they wanted this. 23 - Powell's Comeback - 2/24 Resolution and Hyperspace (Excerpt) 0:00-0:58 + 2:08 Powell's Comeback 1:26-end 24 - Let It Snow - 2:09 Let It Snow 25 - Roy Rogers Meets Beethoven's 9th - 2:26 Roy Rogers Meets Beethoven's 9th - The film/main program uses an awful sounding 9th recording so this is a really fun replacement and playoff.

So, Bond scores. When Tomorrow Never Dies came out, I listened and rewatched the movie and happily bought it. When TWINE and DAD were selling out, I rewatched all the Brosnans and decided TND is enough. So now when LaLD and O came out, I listened to the samples and liked LaLD... but is this the right score to jump down the rabbithole with? I certainly knew don't want every single Bond score on by shelf, is this really one to buy? Sure I liked it but what if it's for example just copypastes of Barry cues from better scores and would be redundant if I get those too in the future? The simplest solution of course was... to watch every movie again from No to License, I haven't seen most of them in 12 or more years anyway! And the overall impression is that it's a wildly mixed series of movies. The practical stunts in most of them are insanely impressive, even if many of them had overlong superfluous chase scenes shoved in just to have them. The gadgets are always fun, Q is the best character (was positively surprised to see him in bigger "field work" roles in some of them!), it was sad to see Bernard Lee and eventually Lois Maxwell go. It was also funny to see how little of an effort they put into Felix Leiter, I assume eventually they just decided it's a core element of the Bond formula that he cannot be played by the same actor in any two movies, and they have to have nothing to do with each other! The formula of random side adventures all over the world leading to megalomaniacs wanting to control the world was getting old fast, but when it was dealing with random smaller fish underworld figures, that got dull and kind of small stakes too. Connery's era is endearingly classic, all of them are pretty good, even if Thunderball gets really bloated and YOLT pretty silly. I thought OHMSS was good but a bit bland, and DAF was a pretty weak attempt to go back to the previous feel. Moore was... well it ranged from good but bland (SwLM, FYEO) to stupid but in a kind of fun way (MWTGG, Moonraker) to just plain old embarrassingly stupid (LALD, Octopussy) to whatever AVTAK was, I didn't even finish that one, just had enough by that point. Dalton was a really refreshing revitalisation attempt, I loved his take on the character and loved TLD... but then LTK was kind of a mess. So, why did I do this again? Oh right, scores! Barry was having a lot of fun with the early ones but after a while it felt like he started resenting them? He used the main theme less and less, and most often just in its Gunbarrel arrangement, he was writing good themes but just reused the same settings of them again and again, some of the later scores, maybe due to their spottings, are just not really all that fun at all, most that's left is just murky investigation tension and some love themes with the song melodies. There are of course standout favourites that I'd like to get when they're expanded properly: From Russia with Love is a good varied thriller score, Goldfinger starts off meh but has some really good stuff near the end, You Only Live Twice has some gorgeous writing, Golden Gun was really fun after he took a little break, Moonraker starts off meh but has some really good stuff near the end, Living Daylights' 80s sampled percussion loops put me off a bit but even with that I really got into it. That's still a really good amount even though I was picky. Non-Barry? Well, mixed again. Funny that the two least bad Moores had the worst scores, though neither quite nearing Goldeneye levels where the score is actively working against a great film to make it as uninteresting as possible, making sure to never enhance anything. License to Kill has fantastic Arnold level playfulness and main theme renditions, great action, but also a lot of dull general Kamen stuff, sorry, half of what he does is just not really for me. That leaves Martin and LALD, the reason for this whole exploration... and hell to the fucking yes I'll buy it! When Barry was going down, Martin kicked the fun and groove up to 11, incorporated the song's many melodies well and played with the main theme a lot, and delivered what I think's easily my favourite non-Barry non-Arnold Bond score! It was so good that even Barry had to get himself back together for MWTGG right after.

Listened to Mad Max: Beyond Thunderdome again after finishing the (criminally forgotten) 2015 game. And I still love it, lots of interesting sounds, love the didgeridoo for the desert or the rock semi-source for the Bartertown underbelly or the choir+exotic percussion for the kids, or the distressed piano clanging in the final setpiece, some good theme variations, a nice arc overall. Pity it's OOP!

I did try the OST once but it only really grabbed me when it was reprising Cocoon.

Works great in the film, doesn't do much for me on its own. Tried to try it multiple times but it hasn't clicked/unlocked for me yet. Maybe next time it's rerereissued I'll try watching the movie and really listening to it all from start to finish. (No, don't link things to me now, I'll just be annoyed that it's OOP ) Based just on the samples it's not for me, this slow sanctimonious Americana war epic is not my thing (with rare exceptions maybe), I didn't buy SPR either. The labels need to get to the good stuff already! Brainstorm would be an instabuy, based on at-work OST streaming I really liked Perfect Storm, kinda liked Bicentennial Man and Beautiful Mind too...