HunterTech

It better be some LP pressing so that I didn't just slightly overpay for a copy of the SACD complete edition for the first score.

Prior to 2019, the only real soundtrack CDs I had purchased were ones connected to things I would've had a longtime attachment to. Superman and Harry Potter were real no brainers for me to have, but I otherwise stuck to whatever you could easily find rips of online. The most I would've gone out of the limb for then was for an obscure expansion I really wanted that I couldn't find any digital copies for initially. That was it. Then I suddenly had access to a spreadsheet of stuff for bootlegs and other rarities that I eventually was allowed to show others. A friend had asked for Young Sherlock Holmes, on the basis that he didn't have any Bruce Broughton in his collection. I complied, and that might've been the end of it in any other scenario. However, this particular item suddenly kept jumping out at me whenever I thought back to it, and I really wasn't sure why. Perhaps because it was (in at least a few circles) such a relatively unknown title to be asked about that it piqued my interest. I really can't recall how much of it I would've heard, but it definitely was enough for me to think that it stood out among the regular glut of stuff I was hearing then. Not too long after, Intrada announces that they've now made a new edition for the score, with the first gen masters of the original mixes finally being found for release. Now, I already knew that I could've waited for a rip to pop up online, since I had decent awareness of the prior editions that existed. Yet, with how often they re-released this particular title, I could sense just how much passion they had for it if they were willing to throw away the new mixes they made for the 2014 release. Especially since, even now, just the OST alone wasn't available to stream, so for that to finally have a proper compact disc release was really something special. So, in what would've been an unusual move for the time, I ordered it the moment it became available to purchase. I may own slightly less than half of what I have from LLL, but I've pretty much cherished every Intrada release that I do have, even with the warts of some. I do sincerely believe that had I not made that one purchase, my collection wouldn't be anything like it is today, and that's something I'm sure Fake wanted to see in his film music pursuits. Being able to reach hidden gold to the most unsuspecting of listeners. He will be missed.

I'll always remember being told to listen to Star Trek: The Motion Picture, during the period when I seriously struggled with scores that fell outside of a certain range I was familiar with. I recognize its genius now, yet I certainly thought it was daunting with the 3 CDs of the original LLL release. And while Supergirl had inherent appeal thanks to its small connections to the Reeves Superman films, I don't think I really got invested until I listened to Total Recall, after a likely case of temp track copying with Iron Man 2. I was so intrigued by the way in which it blended the orchestra and the synths, which still is something that can be tricky to balance these days. I didn't love the full thing (I still sort of don't), but it was enough for me to figure I should give him more of an active shot. It's certainly pretty small compared to other composers, but I definitely don't regret what I've gotten thus far.

Burton and even Elfman have mentioned over the years being very dissatisfied with the original sound mix for 89, so I would not be surprised if all the changes were a result of requests made to spruce things up. Especially since the Superman sequels only had their Atmos sound mixes falter as a result of the materials used than from revisionism. As well as the fact similar complaints weren't made towards the Batman sequels (though I might have just missed those at the time). Additionally, while this might vary by set up (I certainly never noticed this), it's commonly been noted that there is a blueish tint that isn't in the previous HD master. I could've sworn this is more prominent in the new 1080p copy compared to the 4K one, but I haven't given it a closer look recently.

Wasn't the infamous 4K release of T2 based on the 3D master? At the very least they mentioned doing all the DNR for the sake of making the image pop better for that specific conversion.

As an owner of the film on 4K, I certainly agree with the video I've linked here that while it generally looks alright, the faces have been sharpened to the point of looking very hyper realistic, which might potentially prove distracting depending on the person (which I certainly did feel at points).

I picked it because it was one that had interest from two friends with differing tastes, plus it being one of several albums that costed $1 in Lukas Kendall's many sales of late. Given you can only find one track uploaded to YT, I think that unfortunately speaks to how obscure the film is. As a chain from Japan, their primary international locations are unsurprisingly the ones next door (the US). I think the only real Euro-centric locations are three in Paris, as they otherwise operate in other Asian territories (Seoul and Malaysia). And even then, I suspect the only reason I've seen this many unique score CDs is because California is naturally where a lot of the soundtrack label business is at. Must be a bit unfortunate for those who sell their stuff to these stores, since I hear their money offers is pitifully low. I'm sure $5 for Intrada's The Shadow expansion could be considered a robbery by some . Their pricing can also be quite strange at times, as the very same CD can often have differing prices despite the multiple copies being discernibly of similar condition. I really would love to know how they decide on these things, since they do apparently have a database for determining the value of an item. I've only really gotten 2 score CDs from them prior to the recent lot here, since it really depends on the visit if you're gonna get anything good. It's more fun to see what has arrived, what has stayed the same, and what has gone. I think things like the aforementioned Kendall sales offers more for less, but that doesn't make the repeated trips any less fun and potentially rewarding.

I haven't been great about posting many of my score purchases on the forum, so I'll try to show a few of the lots I've bought within the past year or so. This is everything I've currently got in 2024 that isn't some of the individual items that I've likely already shown elsewhere: I might make a separate post for 2023 stuff if I end up remembering to do so

Everyone who enjoys the sequel scores more? I suppose less refined is the perhaps not the right word to use, since it's definitely setting the stage for Davis to really go nuts in the two follow ups. Based on the listening session I'm having right now, I don't know if I quite agree that it pales in comparison. It's pretty compelling throughout, and I don't think I'm missing some of the bombast the most famous tracks from Reloaded/Revolutions have. It's definitely not conventional in terms of my appreciation of it, but compared to some other CDs I've bought, I'm immediately declaring that I have no regrets spending this much on it (especially since jumping from $40 to $55 isn't quite so bad when taking account of only the SACD release (and sealed, no less!)). A funny thing is that in the midst of the many recent sales Lukas Kendall has had on his site, two of them offered free physical bootlegs with every $20 or so spent. For the second one, since copies of the legit thing weren't even being offered for a while, I figured I'd humor myself in getting one of a few for The Matrix. Quite shockingly, it was sealed, which is more effort than burnt MP3s of an incomplete isolated score rip probably deserves. Though given that, I can see some perhaps preferring the cover art here over the actual official one .

At the time this released, I didn't feel particularly compelled to buy it, since I was a lot more hesitant about what CDs I felt for certain were worth my time and money. Plus, in addition to having been less adventurous in going outside my comfort zone, it felt a bit strange grabbing it when the other two entries were seemingly long out of print at that point. So I figured I was better off going for the lesser known stuff then, since surely something this famous would remain easy to find long after. Then two years pass, and suddenly LLL presses the last batches for their Reloaded and Revolution expansions. Knowing how expensive used copies of them were around that time, I figured buying these were no brainers. But then I was quick to realize afterwards that VS had already sold out both of their complete disc editions for the first score. Not much of a problem, since I recalled hearing it was less refined than its follow ups, so I put it on my Discogs wishlist for later. But as time passed, it became pretty apparent just how much interest there still remained for this release. Cheap-ish copies were quick to get bought up, leaving $60+ listings that were too out of my comfort zone. All while the LP edition (still) remains in stock. Go figure. Eventually, after amassing enough CDs to buy a proper shelf to store them, a discounted $55 listing for the SACD release on eBay left me deciding "eh, I've already blown a lot of money at this point.... why not?"

So why do people continue to that claim License To Kill comes off as gritty then? Besides the fact that the 80s had a very different idea for what a serious action movie looked like.

Getting the feeling that whatever she wrote was not entirely on her own instincts.

I'd be interested in a more thorough explanation of this in a PM since, while I don't doubt this is true to some degree, the point she claimed she was trying to make would probably be lost on most people who would've come across that particular image, regardless of who it was that posted it (not helping that she apparently only clarified herself a year later, unless the wiki left some crucial information out). Anybody else who said anything akin to how that business was perceived were probably not as easily misunderstood.

I feel like it's maybe alluding to the fact Phoebe Waller-Bridges was brought on to punch up the script in a few areas, but that was purely on the suggestion of Daniel Craig before it was any of the producers. So you almost would have to maybe blame Bond himself for any of the issues that movie has, which might be fair if you're of the principle that your lead actor should never have any actual input on the writing (which more explicitly was the case with QoS). But then I imagine that was something they decided on before any reshoots occurred, so hey, maybe the director did hastily rewrite stuff afterwards.

Wow, I guess I do have to make an appreciation thread after all