John Dutton

Every once in a while, I revisit that one. I still prefer the Anthology overall, but fuck if the original LP isn't perfect.
Anyway, I've been listening to Congo all day. What an awesome score. As far as African-themed scores go, I think Goldsmith's here is the best.

The old ways are gone. Zimmer and his MIDI keyboards have successfully snubbed out any hint of creativity there was left.
Gia still caries the torch for "good old fashioned" orchestral music, but he simply lacks the talent and finesse of the masters he chose to emulate.
*swigs from bottle*
Do you...remember Ricard. The 80's. The 90's. Every year you's get a new score from the likes of Silvesti, Goldsmith, Kamen, Poledouris...
*Belches*
Sure...not everyone of them was a new "The Final Conflict" or "Brazil", but they would put out consistently enjoyable works. Distinctive of the composers own personal style.
*Whipes face with sleeve*
In those days composers didnt try to all sound the same, or conform to a certain popular style. And they were real composers!
How the fuck do people like Henry Jackman or Ramin Djawadi get to do the big summer block buster scores that used to be done by people who's music had character...personality???
A Michael Kamen score.....
*swigs from bottle, booze goes into lungs, all but trows up*
A Michael Kamen score had a certain style. It was distinctly different from one written by Goldsmith, or Poledouris, Horner, JW etc. And Kamen's scores were recognizably his own. Sounding like Kamen, even if they were as different as Die Hard and The Three Musketeers are...you can hear the composers fingerprints.
*stares into screen for minutes*
That's what is missing these days!

It's my favorite one.
As for the criticism that it's too dark, violent, offensive, zany, and/or silly (funny how it can be all of those things)...at least they did something different. I consider it a sequel very much in the style of The Empire Strikes Back or The Wrath of Khan. By that, I mean, taken in a radically different direction and frequently nothing you would have ever seen coming after the first movie. Inevitably, I feel this pays off and we're left with extremely entertaining, unique and now-vintage Spielberg from a more youthful, scandalous Steven in the time before he had kids and his balls retracted.

They're already doing that in a theater where I go.

Still haven't had a chance to check out the first episode, but in the meantime. . . .
Here's a little tongue-in-cheek action from the "missing" files of Jack Bauer. I had initial germ of the idea for this years ago when we were watching the series on DVD but lacked the tools to produce it properly at the time. With the advent of Jack's return in London, I thought this would be a fitting time to take a break from all the other video stuff I've been laboring over recently and work the thing up for fun. (And it was a lot of fun—for me, anyway.)
Enjoy.

lossless cassette?

95% of the films I see I don;t want to see again

Star Trek: The Motion Picture. Twice.
Easily one of the greatest scores of all time.

"In my mind, I was thinking of it as a kind of Saturday afternoon movie for kids, really." - John Williams on Star Wars

Jesus. Good luck with that...

It's better than John Williams's bland trumpet mickey mousing

The story about the better composers for Schindler's List all being dead, sadly, also isn't true.

It's my favorite one.
As for the criticism that it's too dark, violent, offensive, zany, and/or silly (funny how it can be all of those things)...at least they did something different. I consider it a sequel very much in the style of The Empire Strikes Back or The Wrath of Khan. By that, I mean, taken in a radically different direction and frequently nothing you would have ever seen coming after the first movie. Inevitably, I feel this pays off and we're left with extremely entertaining, unique and now-vintage Spielberg from a more youthful, scandalous Steven in the time before he had kids and his balls retracted.

Those opening shots of Back to the Future tells you almost everything you need to know. You see this wacky garage laboratory with clocks everywhere, equipment malfunctioning, newspaper clippings from the past, photos of some of history's greatest minds, the radio ad gives the date, you witness the news report, plutonium case on the floor and then this out of place kid with a skateboard (mode of transportation) who will soon be very out of place (and time) via mode of transportation walks in asking for the Doc...which he will do again later on.

The Music of John Barry: The Devastated Collection
Ruined by The City of Prague Philharmonic Orchestra

DENNIS THE MENACE - Jerry Goldsmith (LLL EXPANDED)
Goldsmith in his most labored silly mode for this spoonfeeding John Hughes-version of a classic newspaper cartoon. It's essentially Goldsmith doing a jolly summer update of John Williams' wintery HOME ALONE scores (same producer) so you get a lot of americanized PETER AND THE WOLF, harmonicanized americana and very hardworking on-the-nose zaniness that seldom contributes more than a musical illustration of visual gags on screen. Goldsmith draws from his own GREAT TRAIN ROBBERY for the main theme and it's bright and punchy as hell but if you waded through an hour's worth of hewing and hawing versions of it (and the grumbling trombone theme for Walter Matthau's grouchy neighbor and the Gremlins light theme for the movie's scoundrel) it begins to feel like hard work. Because of the very literal nature of film and music, there's sadly none of the demented fun Goldsmith brought to i. e. THE BURBS or other Dante pictures.
LLL's version is basically unrecommendable to anyone without tolerance for this kind of stuff, but if you love elaborate pranks done with a 90-piece orchestra, this is your golden ticket.
Below: some choice cuts of the new stuff, if that isn't get your juices flowing this may not be for you
New Sound Bits

*cough* indy 4

I like that they sort of ignored continuity with Raiders. You could say they didn't, since it's technically set prior to Raiders. However, there's a quality to it similar to a Bond sequel, with a new girl, supporting cast, overall tone and Indy himself being a slightly different character, at least to some degree. Almost like going from Connery to Moore, only it's the same actor.

It's my favorite one.
As for the criticism that it's too dark, violent, offensive, zany, and/or silly (funny how it can be all of those things)...at least they did something different. I consider it a sequel very much in the style of The Empire Strikes Back or The Wrath of Khan. By that, I mean, taken in a radically different direction and frequently nothing you would have ever seen coming after the first movie. Inevitably, I feel this pays off and we're left with extremely entertaining, unique and now-vintage Spielberg from a more youthful, scandalous Steven in the time before he had kids and his balls retracted.

I always felt that the character most have in their minds as being Indiana Jones was the Indiana Jones of this film.

It needs defending from Steven Spielberg who has done nothing but slag it off and be dismissive of it ever since making it.

Jesus...

The Rocketeer. All day. It's my favorite James Horner score. I feel like everything he's done since the early 90s has heavily plagiarized The Rocketeer and Sneakers.
Every time I hear the ending of Rendezvous at Griffith Park Observatory, I want to run up stairs and rocket off the roof. I might die listening to this shit some day.

What's all this we stuff? They just want the rabbit.

That time has passed.
I guess this is kinda cool. If, you know, you're into vinyl. I know they sorta came back (or they tried to bring them back) as like a hipster thing. But for those of us in the 21st century that have logically embraced advances in technology and now have snap/crackle/pop-free complete versions of John Williams scores that don't require any flipping, what are we to do with such a thing?