HunterTech

Teenage Mutant Ninja Turtles (1990) - John Du Prez 01. Crimewave -1m1 Crime in the City 02. Teenage Mutant Ninja Turtles -1m2a Rats! [0:00-0:03] -1m2b Bad Timing [0:03-0:20] -1m2c The Katana [0:20-1:02] -1m2d Opening Titles [1:03-End] 03. Crime Fighters -1m3 Master Splinter [0:00-0:43] -1m4 Meditation [0:43-1:03] -2m1 Bag Snatchers [1:03-1:21] -2m2 Casey Jones [1:22-1:33] -2m3 Nobody Understands Cricket [1:33-End] 04. Possess The Right Thinking -2m4 Splinter and Raphael [0:00-1:26] -2m5 News Report [1:26-1:47] -2m6 Danny [1:47-1:54] -3m1 In Disguise [1:54-End] 05. Subway Attack -{Rattling Cymbal Insert} [0:00-0:03] -3m2 Subway Fight [0:03-1:34] -3m3 April Meets The Gang [1:34-End] 06. Splinter's Tale I -Splinter's Tale I and Splinter's Tale II {VA Album Track} [2:53-End] 07. Hidden Treasures -4m5 Guitar Player (Wild) [0:00-0:02] -{SFX Insert} [0:03-0:07] -4m1-2 Seeing Things {micro-edited} [0:07-0:39] -3m6 Unused [0:39-1:16] -3m7 Back at April's [1:16-1:35] 08. Shredder's Entrance -4m6 Tatsu Gong [0:00-0:15] -4m7 Shredder's Entrance [0:16-End] 09. Raphael in Trouble -5m1 Casey Sees Raph [0:00-0:27] -5m2 Raph on the Rooftop [0:27-0:35] -5m2a Raph Taunts [0:35-1:09] -5m2b Raph Head Punch [1:09-1:15] -5m3 Raphael Through the Roof [1:15-1:52] -{Nunchuck SFX Insert} [1:52-1:55] -5m4 A Fellow Chucker [1:55-2:16] -{Nunchuck SFX Insert} [2:16-2:19] -5m2b Raph Head Punch [2:19-End] 10. Huge Fight -5m5 Keep Practicing {Micro-edited} [0:00-2:31] -{Cymbal Crash Inserts} [1:41-2:31] -5m5 Beethoven Piano Sting (Wild) [2:01-2:04] -5m5a Keep Practicing (Last Chord) [2:31-End] 11. Tatsu Attack -5m6 Casey Joins The Fight 12. Trouble -6m1 Danny and Splinter [0:00-1:26] -6m2 Vigil [1:26-End] 13. Their Greatest Fear -7m1a Raph and Leo [0:00-1:35] -7m1b Turtle Training {Extended} [1:35-End] 14. Message From Splinter -7m2 Leo's Vision [0:00-0:25] -7m3 Vision From The Flame [0:25-End] 15. Time To Go Back -7m4 Time To Go Back [0:00-0:23] -7m5 Into The Sewers [0:23-0:30] -8m1 Being Watched [0:30-0:57] -8m2 Drawings [0:58-1:08] -8m4 Danny Leaves [1:08-End] 16. Splinter's Tale II -Splinter's Tale I and Splinter's Tale II {VA Album Track} [0:00-2:44] -8m6 Urokosaki's Symbol [2:44-End] 17. Battles With The Foot -9m1 Sewer Ambush [0:00-0:21] -9m2 Sewer Fight [0:21-end] 18. Sewer Surfin' -9m3 Sewer Skater {Extended} 19. Street Fight -9m4 Saving Splinter [0:00-0:20] -9m5 I Love Being A Turtle [0:20-End] 20. Shredder's Last Stand -9m6 Shredder Confrontation I [0:00-1:01] -9m7 Shredder Confrontation II [1:01-1:49] -5m6 Casey Joins The Fight {Edited} [1:49-End] 21. The Fall of Shredder -10m2 Splinter Returns {Micro-edited} [0:00-0:58] -10m3 Without Honour [0:58-1:27] -10m4 Reunited (Alternate) [1:27-End] 22. TMNT (Alt Mix) {same as track 02} 23. Splinter's Tale I (Alt Mix) -3m4 Splinter's Tale I 24. Splinter's Tale II (Alt Mix) -8m5 Splinter's Tale II [0:00-1:30] -8m6 Urokosaki's Symbol [1:30-End] Unreleased/absent tracks: -3m4 Splinter's Tale I (Alternate Ending) -3m6a Splinter Gone {while editorially created (the cue number and name are likely made up), the repeat inclusion of 5m6 suggests it could've been recreated but chosen not to} -4m4 Bass Player Continue (Wild) -5m5 Beethoven Piano Sting (Wild) {isolated} -10m1 Shredder Confrontation III {unused} -10m4 Reunited {a slightly shorter version of the alt} -Shredder's Suite {VA track that contains unique mixes of 4m7, 1m1, and 5m6} -Turtle Rhapsody {contemporary remix of the main theme, with three variants existing} (First time doing one of these, so there's definitely room for improvement. Didn't note all the spots where cues cross-fade in the transition and the exact micro-edits done. Plus, the time stamps seem to operate on two systems sort of. I'm sure I'll get the hang of it with time.)

Yeah, unless there's recent analytics about podcasts and/or other audio mediums beating out music in particular, I really question the idea of interest in songs being at a low in the streaming age. It really is just a matter of shifting tastes, which certainly seems to have reached the "going from classical to rock" phase in regards to film music.

For as much as Snyder fans wanted no Elfman in their DCEU movies, I think Holkenborg inadvertently might've made him a mainstay if that universe continued:

I should reiterate once again that Du Prez likely was held back by space restrictions, since Waxwork putting out only 1 LP for each sequel would suggest the interest wasn't there to shell out money for 2 if they also were releasing them on CD and digital simultaneously. Hell, it just occurred to me that II sort of feels like they originally had arranged it for two records, but then hastily edited the program after they could only get one (which is why the opening 2 tracks are so odd). I think with the resurgence of vinyl, Jones likely felt more at home pressing these on that format to stay true to the time period of the movies. I'm not entirely sure why that dinner with LLL or whoever it was seemingly went nowhere, if his one release with MBR happened, so I would have to assume he pulled a Peter Bernstein and operated on his own instincts here.

A Fish Called Wanda seems like a C&C release in the way it's organized, especially given it was released by Music Box Records unlike these ones. Every TMNT score has leaked, and pretty darn complete for I and III as far as the original compositions go. It's only II where anything remains missing, even if the material could be considered fairly redundant for anyone who isn't a strict completionist. I suspect what happened is that since it was a premiere of a beloved score, Du Prez was less inclined to be picky about the release of the first one, so it comes out relatively intact. But for the sequels, he likely felt a good chunk of the material was either repetitive or didn't help with the flow much, so he edited based on that. The end result with II was appalling, but I think III has more of a chance of being decently put together (especially when the one VA track is more straight forward than what was included on the albums for the first two movies).

Is there any way of disabling notifications for when specific users react to your posts? I don't think any rules are being broken by one retroactively using an emote a while after, yet I am feeling a bit targeted from someone just seemingly going through mine in particular. Probably nothing I could report, but I figure I should do something about it.

35 minutes is even shorter than the estimate I had made. Incredibly bizarre that this went from a relatively complete release for the first score, to basically half of it missing from the third. The last track missing the opening portion definitely suggests this had quite of bit of micro-editing as well, so cue breakdowns will sure be fun. (At least they wrote Duprez's name correctly this time lol.) Should III get its own thread? Since II has one, so any further discussion goes there.

But you can't trust the protests to always be in good faith, which is the main argument against it here. Given that it is a recent phenomenon, I don't think the "it's inevitable with a system like that" counterpoint works at all if this never has been an issue in the past. So I figure something like how RT did it after it happened to them in a few instances would be ideal, but the big issue is that these companies in essence hate actual moderation, so it probably isn't on their radar for now (though this being a notable case might turn that around).

$30.85 for me, which is par for the course of what buying a 2CD set from labels in LA usually entails at MSRP price. Feels nice to finally own a Mondo thing, having seen quite a few of their offerings in person at the near Alamo Drafthouse and some Barnes & Nobles. Also first Giacchino thing I own, since I wouldn't have grabbed any of the label expansions/premieres that have released.

It hadn't occurred to me that it could be a gig for Sener or Willis, but I'm not sure if DW would be comfortable with names that don't really have big movies attached to them.

Which is why the prospect of Powell doing KFP4 would be intriguing, but it is incredibly unlikely per what I mentioned above. If anything, it feels like an easy LB gig, in spite of him not having done a DW movie in quite a while. Maybe Mazarro?

I recently listened to the KFP1 bootleg after someone pointed out the recent HZ.com cuelist update got specific enough to where you can tell who did what cue by the version number (Powell adds a random letter to designate his stuff, while Zimmer sticks to number decimals). The weak link was sort of predictably the stuff by the latter, as the high energy and detail of the JP stuff easily dissipates with how much more piecemeal the HZ cues can be. I don't want to say this felt like it was merely a gig to one party, because Hans evidently likes the franchise enough to do the sequels and play Oogway Ascends in concerts, but the whole end result is uneven from how evidently different the methodology of each composer is. It certainly would've succeeded more if it was one or the other that did it instead of both doing it somewhat separately. I don't even want to get into KFP2, as I've heard rumors that suggest the score was sort of dead on arrival with behind the scenes conflicts that occurred. Haven't bothered with KFP3 yet, both because I kind of usually prefer expanded presentations for MV/RCP works, but also because I wasn't too interested in a heavily Balfe version of already mixed bag material. I suppose an announcement for who's doing 4 could certainly get me more interested in giving the sequels a further go.

Powell doing KFP4 is only likely if a few key things change that I'm not allowed to publicly state. I sure would love for him to be involved with the Chicken Run sequel, but that looks to remain a HGW "solo" gig. Certainly am curious either way.

Huh, I don't think I ever actually posted my thoughts here. Strange, because I feel like I did elaborate what I felt to someone here, but it must've been someone on the Discord. I do have to issue a correction, since when you remove the tracks from III on the bootleg that were shoehorned in to fill in the empty spots, it's not longer by much. However, there's still some cues here and there that don't show up from the leak, presumably because it doesn't reflect what you hear in the film. I really wish there was some behind the scenes thing for why they approached this release like they did, since I figure that even with the sequels being less popular than the first, you would want to still put in as much as you can to appease the fans. Ghostbusters II at least had Edelman talking about how half that score was misplaced, so I definitely would like to hear Du Prez talking about these if he was involved.

Unfortunately, that's marketing Waxwork pops onto every release, even when it's just them pressing the OST. The first one sort of isn't, since it leaves out any alts and cues that are replaced by tracked material in the final film (which is replicated on the program). I thought I wrote about the second score on here before, but I can't seem to find a discussion on it. Given what's been said about an LP generally holding 22 minutes onto each side, if they're gonna use the same program across 3 formats, then that basically guarantees close to 20 minutes that are on the leak would be missing (since it's about an hour in length).