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Richard Penna

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Everything posted by Richard Penna

  1. Can't you just put the album (yes Bruce, it's an album) on and enjoy it, without worrying about how it's structured? I'd hope that your desire for reconceptualisation only becomes a big problem if the album is compiled Thomas Newman style (even I struggle with his albums sometimes). This one doesn't look to bad, surely?
  2. This, essentially. Even if the official release doesn't omit any music, there is bound to be some alternate/insert/mixing difference/clean opening/ending, or some other issue which makes me want to hang on to the sessions. And like the post above mine, I have enough HDD space that I dont need to delete anything.
  3. Yeah, the #2 song is good, although that's entirely down to the fact that it uses Powell's melody. I don't overly care for the vocals, but the percussion is really cool.
  4. Yeah, I've missed out on this and a few other things because they're on a subscription thing. Meh. I never even bothered figuring out what the hell Britbox is anyway; I have enough subscriptions as it is.
  5. I was surprised at the time that Silvestri took on such a big project - you don't see many composers maintaining busy film schedules and TV at the same time. I find TV scores are always hit and miss, regardless of who's composing. They need so much music, and by a certain point they start tracking music. Tyler's Yellowstone and McCreary's Outlander are two current TV scores I keep an eye on, and they both have the same issue - some great highlights, surrounded by a lot of average or repetitive material. As much as I'm sure many around here would love to imagine JW would nail every second, I don't think the TV world is optimised for that.
  6. In many cases it's not even that. Sphere, along with most of Varese's 90s releases, was only 35 minutes. The complete score to Sphere is 1:41, with other action scores from that period floating around that kind of length. That means that just ~30% of those scores is initially available. While far from ideal, an initial release of that length is better than nothing. We lived with countless albums of this length for decades. If a score gets that sort of reconceptualised release, that point is where your input in any part of the release process for that score should end. You've got your symphony, and now that time has passed and the rest of us get our expansion.
  7. The 'Mystery Theme' in all its guises, is what initially made me sit up and notice the score. I love its melancholy sound, and how pliable it is amongst various settings.
  8. I picked him up on this on the last round of this neverending debate here: https://www.jwfan.com/forums/index.php?/topic/18489-the-official-varese-sarabande-thread/&do=findComment&comment=1704251 In a nutshell - he not only dislikes expanded releases, but actively wishes they wouldn't happen, and that the rest of us weren't able to buy additional music. Yet when I pick him up on this unheard-of selfishness, I'm apparently attacking his ability to have 'preferences'. Mehhhh.
  9. My copy just arrived I'm noticing that Varese tends to send their dispatch e-mail the afternoon before they actually send it, and that it takes two days for delivery. Still, much faster than waiting for it to cross the pond. As I was hoping, the combined cues have space between them - I always liked having the opening and march sections of Ths Is Berk separate from the promo. Pretty much the only thing I don't like is Jonsi's song.
  10. I seem to remember that you decided Silvestri had likely made a mistake with the digital album of (Ready Player One or Avengers Endgame, don't remember which) before listening to it, solely on the fact that it breached a CD's capacity by a few minutes. Now I happen to find RPO boring (so there goes that one), and Endgame is a tad long, so there's definitely merit in that view. But a score's quality absolutely justifies its release length, but that's a factor that, for the average score, few people will exactly agree on, hence by setting yourself such subjective and interpretable measurements, you're setting yourself up to frown upon so any albums, because you're (if you don't mind my saying so) so sensitive to that delicate balance which is affected by a multude of factors. Most of us just deal with it by trimming an album here or there or, adding a few cues from a promo.
  11. Yes, this is the point I was trying to articulate. So much about the listening quality of a release is in the score itself. Some scores justify having the bulk released, and some most likely don't, but you'll always find someone who loves that cue you hate. There's way too much room for individual subjective taste to definitely say that any particular arrangement is right or wrong, or drags or fills an hour. Hence when someone comes along, sees an 80 minute album for some random score, and immediately says 'that's too long.... the composer obviously hasn't made the effort to reconceptualise it for me', then they're forgetting that the composer has had to try to make a release which pleases everyone.
  12. I find it surprising how those two interests merge so little that you don't find a desire to hear unreleased music more.
  13. If you have zero connection to the film, Varese's 30-minuters can actually be just right. But as soon as you see the film and notice the music, the acceptability ends there.
  14. I seem to remember you commented some while back that you don't only hate expanded releases, but also wish they actually didn't exist, as in, we were denied the ability to hear the extra music. Is that still your stance? Please correct me if I'm misremembering.
  15. Absolutely, and you've still got a sliding scale of 'how much is enough' re-arranging, but you've got my point. I tend to be on the other side to you, as I love watching a film and being able to immediately identify the music playing. Hence, more and more for expanded releases, I often keep the composer's original album (particularly if it was at the more extreme end of re-arranging) and the full score, so I can have the best of both worlds.
  16. No problem - I'm trying to pick you up on one particular issue. Essentially, your past postings have suggested that you find longer albums in general, work less well as a listening experience - and to some extent, I agree. But I think you're often too quick to decide that the reason these long albums don't work is because the composer neglected the 'listening experience', whereas it can in fact simply be because the score's not as good, or the composer's selection isn't to your taste. McCreary's two Outlander season 1 albums are a perfect example - every album he released for this show was oriented towards listening. The second album, which you expressed disappointment at it existing - I agree that it plays worse than the first, but I think it's because a handful of tracks he chose aren't that interesting. It's categorically not because he didn't arrange it for listening. He just thought some material worked that we don't. Are you with me now? Essentially: an unengaging album doesn't mean a lack of arrangement, and you need to think about what else might have gone 'wrong' in its conception before you just say the composer didn't make a 'proper' album.
  17. You've kind of understood my point - if you don't like the score, the album will drag, and I think you're then blaming the composer for not reconceptualising it enough for you. If the score were really interesting and stood up to a long album, then in your mind the 'reconceptualising' has been successful, but actually all that's happened is you find the score interesting. Hence, if the score is good, it's easy to make a longer album that plays well. Next time you decide a composer hasn't made a proper listening experience, ask yourself whether it's simply that you don't like the score.
  18. I have the OST and complete score for quite a lot of scores. The Haunting is one of those, actually.
  19. This is the primary issue with your argument - some 60 minute albums drag, while others whiz by (I manage to play Enola Holmes nearly twice in a row without really realising it). You're taking an album that you think drags a bit in full CD form, and playing 'victim' that the composer has failed to reconceptualise it, when all that's happened is that they think their score is interesting, and has arranged it nicely into a 70 minute program, and you don't find it as interesting as they do.
  20. I started watching that one evening at the start of lockdown. Eventually turned it off about 20 minutes in - I was finding it completely unengaging.
  21. They work as a concert piece intro, sure, but as part of the overall scene I think this version works better.
  22. You absolutely do. And there have been plenty of examples of your complaining about a release being too long, when it's pretty clear you just don't like the score, and good old 'how dare composer X not reconceptualise this for me!' gets the blame.
  23. Kind of prefer that to the film - it's a gentler introduction to the flight.
  24. I'm so close to doing the same... I so wish you'd tell us you're actually 12 years old, as that's your posting maturity level.
  25. I think the second score benefits the most from the unreleased music, but this is worth buying to get the entire score in great sound, and hopefully signal that we want the rest. I haven't seen the third film, so have no idea what is unreleased except the couple of tracks on the FYC.
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