Richard Penna

Cool, thanks Greg. I had thought for ages that music couldn't be extracted because of the stereo mixes, but now I find this out

Question for anyone who's buying the DVD box sets: I've heard that the single disc (3 episodes each) releases have 2.0 sound mixes, but that the season box sets have 5.1 mixes? Can anyone confirm this, and whether they have been properly mixed, i.e. music and sfx in the side, dialogue in the centre?

Many people on here still relish CDs, and quite a few refuse to touch any form of boot/promo. So while I completely agree with you, many still want CD releases, despite the fact that it means many scores are financially non-viable. It's a battle between a modern approach, and old school. Can anyone tell me in less than 500 words why we don't see scores from Universal? I've never fully understood the reasons, only that their vaults are hard to access.

Oh shut up. Go listen to Crusade. I was another who voted no. I believe Williams' involvement finished, a went out in great style with PoA, I don't think his heart would be in it for another instalment after Doyle and Hooper..err, shaped the franchise. That's not to say that Ray's post didn't make me drool - of course I'd love a Potter Jungle Chase, but I doubt it's going to happen, and every moment wishing it will is a moment missed bickering about the Indy box

I have 12, not including the Indy box.

Gave this a chance after loving Hancock, but this one just doesn't have it for me. The two themes I've identified are nothing special and it seems to focus very much on the comedic side. I actually enjoyed the song (track 2) more than the score

Same here. I didn't rip two tracks from it, and have completely resequenced/renamed some of the rest, and obviously edited some, but it's still nice to have the CD in the box anyway.

But Giacchino's got another 50 years. As much as we'd all love, Williams probably doesn't.

What he said.

Never claimed it would Google them and listen to some samples...

Read silent as not "making huge placards and walking round in circles and shouting"

Yeah I know, it's my way of silent ridicule of the board's copyright stance

September's new song Because I Love You is very catchy. Heard it on the radio on the way home on Friday and immediately bought the jazz/acoustic version. I also like Satellites. She seems to have a gift for good melodies, as well as a good voice. An artist I'll definitely be watching out for.

Is Marc on holiday? The link's still here... My only beef with these edits is that the quotes are really echoey, but of course that's the DVD mixing. I'm one of possibly few around who that thinks the cue works better without the quotes, but a great attempt anyway Max

When an OST is released that just contains songs, and at most, one randomly chosen score cue. These compilations have no business being labelled Original Motion Picture Soundtrack. Unless the songs were all written specifically for the movie (and most aren't), there's nothing original on that CD. Also, if you have a huge hit movie like Spider-Man 3 (which has my favourite score of the franchise so far), keep paying consumers guessing, and finally announce "Sorry, we're not releasing this score at all. Not saying why, sorry". Do they seriously expect us to just sit back and say 'fine'? It's dangerous around here to even start talking about the KotCS DVD, with its team clearly having access to the complete score. It's a bit of a deep issue really. The ideal world for me is all recording sessions placed online securely somewhere that paying subscribers can access them, but that's just a dream. I think a far more realistic idea is just if studios such as Universal, who I understand for whatever reason don't like opening their vaults, would just acknowledge if they can't be bothered to release their scores themselves and license it to a label that actually gives a crap. Like that UK company that holds the rights to some Goldsmith (?) scored film and basically told Intrada, Varese etc to f**k off.

You're right - I probably did dispute it, and the unreleased stuff is miles better than the OST. Further evidence of how bad Williams' albums are for our mental-musical health

And The Map. I've been enjoying this set so much over the last week - the ToD material is nothing less than a revelation, and I can understand why it was a grail for so many. The only thing that still irritates me isn't actually the missing music, but the principle behind it, and the fact that anyone making an album according to Williams' beliefs is going to exclude tracks because they personally don't think it 'fits the musical story'.

A completely filled, 'more-more music from' CD for Indy, with everything not in the box, and the full unedited, intended Jungle Chase. Blu-ray releases of Potter 1-3 and Jurassic Park with isolated scores in lossless, and alternate cues during a menu. Williams discovering that 2-CD jewel cases exist, and has a sudden guilt trip with all his output since 2000. (And I've heard that my current grail, Dante's Peak is receiving a complete release in the near future, and if it does, Potter 1 will be my new grail).

Great news about your girlfriend, but everyone else is right - you'll never leave this place I guarantee

Wouldn't work anyway - it'll just make that section sound mono, and that'll be even worse Temple is easily my favourite of the four scores now. The complexity and sheer energy in the score, as well as how effortlessly Williams juggles the march, Shorty's theme and the love theme is becoming addictive.

I couldn't narrow it down to a top 3. There are many composers who I consider to be doing stellar work at the moment, but I think it's far more subjective these days. I don't believe we have another Horner, another Goldsmith, and definitely not someone at Williams' level. Powell, JNH, Zimmer, Tyler, Debney, Elfman, Young, Gregson-Williams - I think these are the bigger names being tossed around these days, but none of them have scored anything to the degree that it truly catapults them into the public stardom. Well, maybe Dark Knight, but I'm a bit scared that more directors are going to decide that's the style of music they want in their movies. But what also separates these composers from the 90s greats I think is that their quality of output varies greatly, and opinions of them also vary wildly around here. I personally don't understand what people hear in Tyler's music for example. Giacchino? Maybe - he's definitely got his own style, has a mega successful TV series to his name and is about to be unleashed on Star Trek. But I'm still not a big fan. Where would Williams be now if Spielberg and Lucas had chosen someone far less talented to work with?

No. After the dismal bore that was most of OOtP (IMO) and the fact that the new movie looks rubbish in my eyes, my hopes are not high for the rest of the series and I don't think Williams should try re-entering the world.

They were the same ones as I had (although only in mp3). I'm hoping DigitalFreakNYC might have less compressed sounding ones.

I didn't I'm loving ToD at the moment because I've barely heard any of this before in any real detail. Even the original album tracks.