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Everything posted by Richard Penna
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The Official Pop and Rock Music thread
Richard Penna replied to Quintus's topic in General Discussion
Never claimed it would Google them and listen to some samples... -
The Official Pop and Rock Music thread
Richard Penna replied to Quintus's topic in General Discussion
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. -
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.
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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'.
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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).
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Great news about your girlfriend, but everyone else is right - you'll never leave this place I guarantee
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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.
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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?
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I'd love a santa hat on James' head
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So Zimmer composed The Lion King completely by himself did he? Yeah right. Not complaining about this particular disqualification, just the stupid and somewhat deaf academy.
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If it's a John Williams message board, better then just lock up and delete everything that's not related to John Williams. So no JNH, no Goldsmith, no Horner, no Herrmann, no Rosza, etc. etc. This is a film music forum, that just happens to be centric on a particular composer. This is a John Williams forum that just happens to have members that like broader aspects of film music. This is turning into another Zimmer bashing thread... And there's a simple way to avoid it IMO. If anyone's going to use 'excrutiating noise' anywhere in their next post in this thread... well, Mark put it succinctly: Works both ways Mark.
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We already have in the liner notes.
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Good question. "You know the answer to many of these questions will be that 'it was what Mr. Williams wanted." Is Mr. Williams paying to buy this set? NO!