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  1. But my favorite is an even-numbered one.
  2. Are "Edward Scissorhands" and "The Boy Who Could Fly" pretty much the same movie, or am I just being needlessly cynical?
  3. Harry and the Hendersons by Bruce Broughton Stinks that the Intrada album (along with a lot of those "Special Collection" releases) is long gone, but the whole thing's on YT! I don't have much to say in terms of critical analysis. I'm just a sucker for Broughton's kiddie flick music. Is it strange that listening to "mickey-mousing" doesn't bother me? I've witnessed how a lot of soundtrack reviews go on and on about how hard it is to tolerate cartoon music out-of-context, while giving five stars to every superhero score with a brass fanfare. I mean, I understand where they're coming from, it just gets a little tiring to see those kind of reviews over and over, when it's really not that hard to have fun with this kind of scoring. Though I guess my avatar would make that obvious.
  4. You are positively evil.
  5. By some surreal miracle, a CD warehouse in my area had Intrada's release of "The Beast Within" by Les Baxter. Grabbed it and have been loving it immensely. This is some fine, fine horror scoring. I'm now curious about this composer. Any particular recommendations?
  6. Well yeah, but I don't give a hoot about digital. I like my shiny CD's that take up space, confound it!
  7. The image presented here was my reaction when La La Land Records announced their Jurassic Park/Lost World release. I remember seeing a screening of the original film last year, and having played the album as many times as I have, the unreleased music stuck out to my ears. I shrugged and figured a complete score would probably never happen. No biggie. La La Land to the rescue! <3 Of course, I couldn't afford it, but I was still happy the release now existed. As well as, confessedly, I was accustomed to the album I made for myself years ago (taking the original release, rearranging the cues in film order...and ending the CD with Weird Al's Jurassic Park. For fun's sake) and had been satisfied with that, as well as satisfied with Lost World's album (I don't even mind the packaging everyone else hates!). But when a friend of mine offered to have me borrow his copy of the set, obviously I couldn't pass that up. Naturally, my ears were indeed confused as to why the Weird Al song didn't follow the end credits piece, but other than that, it was an indescribably joyful listening. The most wide-eyed little childish grin formed on my mug upon finally hearing "The Encased Mosquito" (my favorite of the unreleased cues), as well as hearing the music for the T-rex jeep chase (though Laura Dern's fantastic screaming in that scene is ingrained into my head more than the music in that case). Pretty much blissfully ties itself with shark attack melodies as to how John Williams introduced me to the world of film music (while Jerry Goldsmith was the one who confirmed that said world was worth exploring).
  8. That's a good one too, but the album has too little score. "In the Dark of the Night" is gnarly though.
  9. I...listen to Rudy more often than ST: TMP myself. xS Final Frontier and First Contact too. ..Am I banned already?
  10. Do what I do! Buy the forgotten scores no one seems to care about, so they go cheap! One of my top ten favorite scores ever was one I got for a buck!
  11. It's middle-drawer Goldsmith for me. A B+ effort, if you will. The main theme plays in my head now and then, and I put on the CD as an occasional hour-long pallet cleanser. Comparable to The Burbs, but a much more innocent, less overtly wacky personality.
  12. I hate how often this glues itself to my subconsciousness. It's basically a poor man's Gremlins theme, but even a poor man's Gremlins theme is still FUN.
  13. David Newman's Ducktales is ridiculously underrated, and I had no idea just how fantastic it was until Intrada released it. It's everything wonderful about his classic Brave Little Toaster score (though for a better movie in that case), but beefed up to eleven. Practically every major character gets a memorable theme/motif (I especially love the 'action' theme, first heard in the opening and blasted beautifully in the ten-minute finale), and it's just a relentlessly exciting listen from start to finish, with the orchestra giving a pretty dang passionate performance considering the film they're contributing to. My favorite of the composer's, easily. I do hope to one day read professional evaluation of the work, as I believe it deserves that kind of attention. Have I mentioned the finale is insane? Because it is. I just love when disposable kiddie flicks are given gorgeous, passionate, honest-to-goodness charming scores like this.
  14. Been shyly lurking in this forum for quite awhile now, only not joining before as attempts to express my passion for film music usually just amounts to inane gushing, rather than the delicious sarcasm and cruel wit I often witness here. But what the hey, I'll throw myself out here and see what I can handle. My love for John Williams mainly stems from Jurassic Park (though I also enjoy Don Davis and Giacchino's contributions to this franchise), E.T, Indiana Jones and especially Jaws. Not really into Star Wars, but I don't really have any criticism for it and have no desire to rain on anyone's parades. I just merely prefer sharks and dinosaurs to ewoks and wookies. I'm mainly a Goldsmith fanatic. Not in the sense that I want to own every single note of every single score he ever composed (I wouldn't want that even if I had the dough for such an endeavor!), just that his name tends to come up a lot in my "favorite scores" lists. Gremlins was the very first film score I ever bought on CD, while Poltergeist remains a strong contender for my absolute favorite film music listening experience. I also own, like and love the works of Christopher Young, John Powell, Basil Poledouris, James Newton Howard, Bruce Broughton, David Newman and Goblin. In terms of both what I watch and what I listen to, I tend to be into either horror (hence my fondness for Young and Goblin) or cartoons (hence my love for Powell and Newman). That is to say, sure, Elmer Bernstein's Ten Commandments is fine, but if I really want an out-of-body experience, I play either The Omen or Horton Hears a Who.