Florian

A while back I had a dream that LLL was doing an exclusive John Barry Bond box set which was primarily being produced by Neil S. Bulk. Even in the dream I was freaking out. And then I woke up. LoL. 

That's a loop from one of Spectrasonics' sample libraries. These popped up in TV and movie scores all over the place in the late 1990s and into the 2000s, and continue to do so today on occasion. I noticed them cropping up so often that about 20 years ago I started a list of everywhere I heard them. The first Tomb Raider film uses them liberally, for example.
 
What irks me with regards to this release -- and I wonder if someone can help -- is the total lack of credit for Craig Armstrong's badass cue, "Lab Scene", which is the second part of "She Escaped/Break In" on Disc Two. The cue is credited in the film's end credits, the DE liner notes mention that the cue remains in the film, and it finally gets its debut release on the DE... but it's renamed "Break In" and no credit is given to Armstrong at all. Why is this?
 
I know legalities are complex when it comes to issuing film scores and even writing about them (copyrights, NDAs, unions, etc.) but I waited nearly 20 years to get this piece, and yet it's been renamed and implicitly credited to Silvestri? It's clearly Armstrong's "Lab Scene" cue, so can anyone explain the story behind this?
 
(As an aside, is the following track -- "Shoot Her Between The Eyes" -- Silvestri's original cue for the lab scene before Jan De Bont opted to keep Armstrong's cue instead? I've not seen the film in years, but I am sure the cue name refers to a line in the lab scene and the fact that it is marked as unused suggests it may be Silvestri's rejected piece.)

Tomorrow Never Dies is amazing

The Living Daylights is my most listened to Barry score.
 
For Your Eyes Only is my most listened to non-Barry score (it's Bill Conti, and a lot of fun).
 
Tomorrow Never Dies is my most listened to Arnold score.

I can hear Barry's glorious drum machine in my head!  

That's a loop from one of Spectrasonics' sample libraries. These popped up in TV and movie scores all over the place in the late 1990s and into the 2000s, and continue to do so today on occasion. I noticed them cropping up so often that about 20 years ago I started a list of everywhere I heard them. The first Tomb Raider film uses them liberally, for example.
 
What irks me with regards to this release -- and I wonder if someone can help -- is the total lack of credit for Craig Armstrong's badass cue, "Lab Scene", which is the second part of "She Escaped/Break In" on Disc Two. The cue is credited in the film's end credits, the DE liner notes mention that the cue remains in the film, and it finally gets its debut release on the DE... but it's renamed "Break In" and no credit is given to Armstrong at all. Why is this?
 
I know legalities are complex when it comes to issuing film scores and even writing about them (copyrights, NDAs, unions, etc.) but I waited nearly 20 years to get this piece, and yet it's been renamed and implicitly credited to Silvestri? It's clearly Armstrong's "Lab Scene" cue, so can anyone explain the story behind this?
 
(As an aside, is the following track -- "Shoot Her Between The Eyes" -- Silvestri's original cue for the lab scene before Jan De Bont opted to keep Armstrong's cue instead? I've not seen the film in years, but I am sure the cue name refers to a line in the lab scene and the fact that it is marked as unused suggests it may be Silvestri's rejected piece.)

Hans Zimmer - Dune
Source: FYC
 
1m01 Opening
1m02B Herald of the Change
1m04 Paul Tells Duncan His Dream
2m10 Bene Gesserit Arrive
2m11 Gob Jabbar
2m12 Bene Gesserit Leave
2m13A Paul And Jessica
2m14 Leaving Caladan
3m20 Sandwalk Video
4m27 Flight to Spice Field
4m28-29 Failed Harvester Lock
4m30 Visions of Chani
5m31 Sardaukar Chant
5m32-35 Night On Arrakis
5m36-37 Harkonnen Attack
5m38-39 Betrayal
5m40-41 Burning Palms - Duncan Kicks Ass
6m43 Burning City
6m44 Broken Tooth
6m46 Holy War Across the Universe
6m48 A Place to Hide
7m50-51 Duncan's Sacrifice
7m52-54 Escape In Ornithopter
7m55 Chase Into Dust Storm
7m55B Dust Vision
7m57 Kill Them
7m59-61 Stillsuits
8m63-64 Run - Shai Hulud
8m69 My Road Leads Into the Desert
9m70 End Credits Dream Tune
 

With the release of the bonus track Safin (which certainly sounds like it's the prologue music), here's my attempt at No Time To Die (bar the vinyl bonus tracks which are the only ones I can't place) with the songs used in the film included 
 
1. Gun Barrel 
2. Dans la ville endormie (by Dalida)
3. Safin
4. Matera
5. Message From An Old Friend
6. Square Escape 
7. No Time To Die (by Billie Eilish)
8. Someone Was Here
9. Not What I Expected
10. What Have You Done
11. Shouldn't We Get To Know Each Other First
12. Cuba Chase
13. Back To MI6
14. Good To Have You Back 
15. Lovely To See You Again
16. Home
17. Norway Chase
18. Gearing Up
19. Poison Garden
20. The Factory
21. I'll Be Right Back
22. Opening The Doors
23. Final Ascent
24. We Have All The Time In The World (by Louis Armstrong)
25. Q1
26. Q2
27. Q3
28. Q4

Taxi Driver (Bernard Herrmann)
--
01. Main Title
02. Thank God for the Rain
03. Cleaning The Cab
04A. I Still Can’t Sleep (0:00-0:52)
04B. They Cannot Touch Her (Betsy’s Theme) (0:52-end)
05A. Phone Call (0:00-0:35)
05E. You’re Gonna Die in Hell (4:18-4:51) (Unused)
05B. I Realize How Much She is Like the Others (0:35-1:33)
05C. A Strange Customer (1:33-2:54)
05D. Watching Palantine on TV (2:54-4:18)
05F. Betsy’s Theme/Hitting the Girl (4:51-end)
07C. Gunplay (1:59-3:19) (Rename "God's Lonely Man")
07A. Getting Into Shape (0:00-0:53)
08A. Sport & Iris (0:00-0:53) (Rename "Getting Into Shape (Alternate)")
07B. Listen You Screwheads (0:53-1:59)
08B. Sport & Iris (0:53-end) (Rename "Listen You Screwheads (Alternate)")
07D. Dear Father & Mother/The Card (3:19-4:46)
07E. Soap Opera (4:46-end)
09A. The $20 Bill (0:00-0:47)
09B. The $20 Bill (0:47-end) (Rename "Target Practice")
06B. The .44 Magnum is a Monster (1:31-end) (Rename "Target Practice (Alternate)")
10A. Assassination Attempt (0:00-1:32)
06A. The .44 Magnum is a Monster (0:00-1:31) (Rename "Assassination Attempt (Alternate)")
10B. After the Carnage (1:32-end)
11. A Reluctant Hero/Betsy/End Credits (4:37)
 
Excerpts of "Betsy's Theme" are tracked into various scenes throughout the film.

If there's one thing Hollywood will never stop doing is to congratulate themselves.

To download the Warner Brothers streaming AACs, I’d recommend a browser add-on like “DownloadHelper”, or use the standalone “JDownloader2” freeware program. Both will interpret the playlist files and compile the separate segments into a single M4A or audio-only MP4 file.
 
In my experience, “JDownloader2” is the easier method, since you can simply copy all the “.m3u8” links I’ve posted for a given score and paste them into the “Link Grabber” tab. The program should then populate the M4As that result from the playlist files. Choose your download folder for the batch and download away. In some cases, however, an “.m3u8” link isn’t properly read by the program so you may have to then resort to using “DownloadHelper” to grab it.

Interesting. I'd love some Albums "unmastered", especially Zimmer's stuff. Way too much damn compression.

Keep in mind the cue titles are made up.

Lol How does this happen so often that they upload an entire score, make the page, immediately take it down, and then put up a new version.

My god, we're here again already?! 2019 is disappearing fast.

My thinking is along these lines. Surely a studio doesn't want to acknowledge in any official way the existence of bootlegs or a leak of its property, and would rather use an inferior source that came from within their own archives.
 
It doesn't make practical sense, especially given that some composers leak or give out their own scores in perfectly releasable quality, but I don't think image-conscious companies like admitting that stuff leaks.

But they own the music ...regardless on the medium they are stored... And if it's lossless....not using it (if needed) is a waste...

If the studio has officially licensed a score to a label, a bootleg is like another different source for it. They own that music, the bootleg was 'stolen' from them..so they have every right to reclaim it. Specially if it's the better or only source available for it it should be used....

Those illegal boots that sound better are property of the studio anyway, so there shouldn't be any difference. And besides, who's gonna know? Is someone at Buena Vista going to check that the film stem tracks all sound like film stem tracks?

The producers of these specialty label albums should seek out connected fans when official material provided by the studio is missing something

True but when there's volume dips in the track it presents a problem and not very good for a listening experience. It threw me off when I was listening to the score, got to that track and heard volume dips in the track.
 
Especially since the pristine boot has no volume issues with said track.

I doubt that's the reason.

mp3 is the future. Soon, we won't even need CDs.

I just find it baffling that MM did so many JG expansions, but why the hell must The Mummy and Air Force One be the two, where he was abscent?