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  1. Finally got my set last week and have given it a few good listens. Even with it's "quirks", I'm loving it. ToD is, for me, the jewel of the bunch. So much great stuff there. It was a great climax for Williams' incredible 1975-1984 period. LC was more familiar to me due to the bootleg, but it's great to really hear the orchestra now. Considering the small market for soundtracks on CD and the fact that Lucasfilm was working with a smallish jazz label releasing this, it seems a surprise to me that this has seen the light of day at all, and something of a miracle that so much about the set was done right. I'm also glad my hearing isn't so acute that slght variances in pitch don't bother me, or that I'm not so picky that I can really enjoy what's there rather than moaning about what's missing. Maybe if this sells well enough, Concord could work with Warner on a Harry Potter: The Early Years Collection, with expanded versions of the first three scores.
  2. I would happily pay double $70 (Canadian) the price to have it in my hands right now.
  3. Pretty much ... I'll also pick up a few cases of Cherry Coke and a few dozen Krispy Kreme to make it a little less pathetic. I did it a few years ago as well when the Bond scoundtracks were reissued. And that was in February, during a snowstorm.
  4. It looks like this has been delayed -- again -- in Canada, until Nov. 25th. I think I'll be heading across the border this weekend. Has anyone seen this available at any "real" stores?
  5. The rear channels on the blu-ray are quite clear ... I was able to extract most of the missing cues from them with minimal SFX. Including the concert versions, I ended up with 38 tracks / 104 min. I used the OST where I could and edited the tracks where needed. A few cues (Doom Town, The Chauchilla Graveyard, Three Drops Down) were too quiet, noisy or not worth the bother to rip. The few intrusive SFX are fairly easy to edit out as well. There's some really good unreleased stuff in there; it's a much better listening experience than the OST presentation. 1. Paramount Logo 0:11 2. Area 51 1:21 3. Dovchenko and Irina 2:00 4. Gunpowder and Shotgun Shells 4.24 5. Inside the Crate 2.40 6. Escape From The Warehouse 2:32 7. Mushroom Cloud 0:20 8. Brutal Year and Enter Mutt 2.10 9. Legend Of Akator 0:57 10. A Whirl Through Academe 3.33 11. Flight To Peru 3:07 12. Oxley's Cell 2:16 13. Grave Robbers 0:55 14. Secret Doors and Scorpions 2:17 15. Orellana's Cradle 4:22 16. The Alien Body 0:52 17. "Return" 3:11 18. Auto-Writing 2:10 19. The Snake Pit 3:15 20. Escaping the Truck 0:59 21. The Jungle Chase 9:24 22. Ants! 4:40 23. Waterfall 0:10 24. Through Eyes and Tears 2:56 25. Ancient Protectors 1:33 26. Temple Entrance 2:38 27. Disappearing Stairs 0:35 28. Into The Temple 1:30 29. The Door Opens 2:16 30. The Chamber 2:30 31. Leaving the Temple 3:34 32. The Departure 2:26 33. Knowledge Was Their Treasure 1:53 34. Finale and End Credits 9:19 35. Raiders March 5:05 36. Call of the Crystal 3:49 37. Adventures of Mutt 3:12 38. Irina’s Theme 2:26
  6. While I'd prefer complete releases, if it has to be a single-discer I'd settle for something like this (for ToD): 1 Anything Goes 3.14 (incl. Shanghai, 1935) 2 Deal For The Diamond 4.06 (first 2.14 edited out) 3 The Streets of Shanghai 3.45 4 Over The Himalayas 3.23 5 Slalom on Mt. Humol 2.22 6 The Starving Village 1.28 7 Fortune and Glory 3.42 (incl They Stole The Children) 8 Short Round 2.27 9 The Legend Of Sankara and the trek To Pankot Palace 4.13 10 The Feast 0.51 11 Nocturnal Activities 5.53 12 Bug Tunnel and Death Trap 3.28 13 The Temple of Doom 6.31 14 Children in Chains 2.42 15 The Ceremony 3.06 (first 3.49 edited out) 16 Slave Children's Crusade 3.22 17 Underground Heroics 4.40 18 The Mine Car Chase 3.38 19 Water! and Cliff Confrontation 4.39 20 Battle for the Stones 4.02 21 Finale and End Credits 8.51
  7. Great news ... glad to see Concorde has put some thought and effort into Raiders (aside from the sometimes awkward track titles). This bodes well for ToD and LC. Although I`d love complete releases of these, at this point I`d settle for single disc versions of each as long as they`re packed solid and carefully assembled. Individual tracks could also be sweated down without losing anything significant (eg. the first 2:49 of Deal for The Diamond). I understand that the digital masters for ToD are very difficult to work with, so I would imagine that they re-digitized every cue while they were at it. This means a full release is more likely to happen some day, in some form. ToD is such a stunning score and so poorly represented on CD that frankly anything they can do with it at this point is an improvement. The interview disc seems like a waste to me: I`d rather have it printed in the booklet, if at all. As much as I like Williams, I think his music speaks for itself. I`d rather have a bonus disc of music with alternate versions, etc.
  8. C-. The few decent scores (Casino Royale, DaVinci Code among them) this year could only be judged so based on my initial low expectations. I blame the studios as much as anyone as they seem to be rushing films through production faster every year with little given for composers to write their scores or to have them properly "married" to the film.
  9. Film music is created first and foremost to fit final form of the film it accompanies. If it does not, no matter how brilliant it is on it's own, it has to go. As much as I admire these unused bits and pieces of ESB and I'm glad it's been included on the CDs as a secondary product, I think the editing of the cues on screen benefit the film tremendously.
  10. Thanks -- here's a link to the thread on the Intrada board. http://www.intrada.com/phpBB2/viewtopic.ph...&highlight=imax
  11. Not to mention the fact that he launched a lot of successful careers...
  12. I've been listening to quite a few of these lately and am really enjoying them -- Mysteries of Egypt, Blue Planet/Dream is Alive, Amazon, India: Kingdon of the Tiger. They seem to have a boldness, a lushness and an exoticism rare in feature film scores. The scores also seem to have a prominence in the final sound mixes of the films rarely seen outside of the Hermann/Hitchcock, Williams/Spielberg or Williams/Star Wars pairings. Opinions or reccomendations?
  13. I've seen many "old" films during their first-run: Star Wars IV, Superman, ESB, ET, ROTJ, Indy 2, View To A kill, etc. and a just a few during their return engagements (Star Wars Special Editions, Vertigo, Midnight Cowboy). Frankly I would have traded in the Star Wars: SE Trilogy for the chance to see a good print of Raiders theatrically, or North By Northwest, or Psycho.
  14. A.I. was a near, but-definite, miss. It was frustrating to watch because it came so close ... before it collapsed into itself. It could have been one of his best -- an intelligent, thought - provoking, well-acted story and stunningly well told. Minority Report I haven't seen. I just cannot stomach Tom Cruise or anything he stands for. I doubt it aproaches the simple brilliance of Raiders though, which I think it one of the most perfectly-realized films ever made. It's indeed frustrating when his propensity for sentimentality can capsize an otherwise-worthy film. I'm not sure if he is pigeon-holed. The fact is that we know he's an incredibly gifted storyteller and filmmaker and I don't think it's wrong to expect more from more from him and to be able to criticise him when he falls short. The same with Williams, although I think he's far more consistent and better at hiding his lack of engagement with certain projects (Epsiodes I and II for example).
  15. I'm not trained in music appreciation and tend to evaluate it chiefly on an emotional basis. SL just left me cold. I didn't care about the film and didn't even see it until it hit video shelves. I did pick up the soundtrack to see if it would grow on me. It didn't. If anything the scraping violins just got on my nerves. I just found JP far more varied and engaging, especially when judged as a stand-alone listening experience.
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