scallenger

Are they really doing just one Star Trek expanded score per year? But who is going to want Star Trek IV expanded? j/k, I'm sure some do. But that score didn't do ANYTHING for me. Now... Star Trek V... I really want. Maybe they can do Star Trek IV and V in the same year? Yes, yes?

I'm glad someone found it funny. Hahahaha. I laughed out loud after writing it. Yes, that makes me high on myself, I know.

My only worry of HOOK getting released is Williams being involved with it. Meaning: probably wouldn't get the complete score. Sort of like James Horner when he was involved with the Intrada releases last year, or Williams on the Indy box set. I love John Williams, and think he's a nice guy, don't get me wrong. But sometimes I seriously can picture him... sitting at home... snickering to himself... "Those poor bastards! They'll never get my complete works! Never! Hahahaha! Want Harry Potter? Denied! Hook? Denied! How about Indiana Jones? Well... I'll give you a good chunk of it, but the whole thing? Denied! What about Phantom Menace? Oh, I have darker plans for that one..."

I'm still shocked by last year's release of Honey, I Shrunk The Kids. A score with THAT much of a public legal battle seemed like it couldn't possibly get released in any form beyond a bootleg. And I was wrong!

Great Train Robbery with the missing music cue found?

Sorry if I seem out of the loop, but what exact evidence is there for speculation on a HOOK release from La La Land this year? Just wondering.

I hope they do this to Young Sherlock Holmes...

Damn it... I got my hopes up WAY too high for Return To Oz...

No it doesn't make sense. The 160 tracks are not in mono, they're true stereo. Scoreman told someone else that he didn't re-encode them to 320k because they would have damaged the tracks. Most likely he meant a loss in quality and that's true. It seems the 5-CD set was put together from 2 or more sources. I had a feeling this person was wrong. I forgot how he explained his reasoning that a 160k track is not stereo, but it didn't make sense to me at all, and was contrary to what I knew about sound quality, lol. Thanks for clarifying.

It isn't all 320 though. Some tracks are 160. Someone I know considered that "mono". Lol. Does that make any sense?

Hehe. Yeah, I agree that it does work better without music. Kind of like the Speeder Bike chase in Return of the Jedi (when it actually gets going, I mean). But it still leaves me curious. I guess I was hoping maybe it was composed at some point so there could be an interesting comparison with the music, like part of the "Eye to Eye" cue actually goes with the scene where the goat is being "baited" for the T-rex, as the people in the car watch and wait. Gave it a creepier atmosphere.

Does anyone know for sure if JW actually write a score for this specific scene in the film? Was it actually recorded? What approach may he have gone with it? Would the "carnivore motif" have made an appearance?

If it is RETURN TO OZ I will be so happy. And it's a good clue since a flying monkey is very "OZ" even though there aren't any in the film. I actually own the old Bay Cities CD and it's a very good representation of the score. Though a new, remastered version, and possibly a complete release, would be amazing. It is also the score's 25th Anniversary, I believe. The only reason why I actually doubt this is what it is because of the recent FSM interview with David Shire. You'd think, if anyone, it would be them to reissue that score now because of it. What other scores did Bay Cities produce that may be desired?

I think what bothers me is when I hear a movie, I may not want ALL the music everytime, but I really want specific parts. And of course, 90% of the time, when the OST comes out, there are at least 2 or 3 cues not on there I was looking for. In fact sometimes an OST comes ANNOYINGLY close to being sufficient enough, save for those extra few tracks. My personal example is JURASSIC PARK. The OST does indeed have most of the desirable cues, save for 2. The most desired one by me is the T-Rex Jeep Chase cue and the one that plays when Tim and Lex are getting into the tour cars before they go on the tour. These cues weren't very long, but they were highlights that stood out to me in the film that I expected to hear on the album at some point. There definitely would have been room for them, especially if they hadn't included one of the most pointless tracks on a soundtrack CD ever: the End Credits. Do you guys know what I'm talking about? They literally just took the 2nd half of "Welcome to Jurassic Park" and slapped it at the end of the album. A complete copy/paste job, and a waste of 3 minutes. To this day it is the glaring problem of another-wise good album.

Oh yes, I do love Cutthroat Island, especially the Prometheus 2 CD version, of course, if only because it has the entire battle music at the end! That track is just 18 minutes of bombastic and dramatic glory, that is only matched or topped by scores like ID4. Which there aren't really THAT many to go around that come that close. Although I still stand by this year's How To Train Your Dragon as having the most honest bombast I have heard in a looong time.

Bombastic scores are my favorites, for sure. Though ape-shit insane action scoring like TEMPLE OF DOOM almost tops it. I think of a score like that as entirely different kind of bombast.

I feel exactly the same! I keep playing those tracks over and over and over again! So much going on in all of them, and the exhilaration is hard to match! But I admit, when I first heard the film version of "The Day We Fight Back", I was a bit iffy on if I liked it better than the original version or not. I still DO love the original version. In a way it does actually flow better, especially with the grand moments. It's almost like a concert piece version. But the film version is WAY more "oh this is kick-ass!" adrenaline-surged awesomeness!

You ripped the liner notes?! Now it's worthless! j/k

Must reuse this line from Jurassic Park.

NOOOO! STOP THAT!!! LOL Even funnier now that it's released.

Maybe YOU do, but I've been waiting for GREMLINS for a long, long, long time!

See! LOL. Though we may just be wrong entirely on what it is, lol. But that new info does match GREMLINS a bit.

Had to say it anyway! lol. I just want it to happen so badly.

Isn't GREMLINS largely electronic?

I'm not discussing anything specific here, but I honestly just don't see why when anyone who has scores like these that they don't discreetly share them. If not directly via person to person, then instead like randomly uploaded somewhere for someone to stumble upon and spread like fire. If one is afraid of being tracked down, then do it from some other location. I guess that's just what I would do if I was in the situation. I believe music should be heard by everyone, not vaulted up.