HunterTech

Ah. I forgot about Amazing Spider-Man 2. That was a fun one. Also I didn’t mind Man of Steel. “What are you going to do...” was a terrific alternative/modern Superman theme. He just didnt seem to know what to do with it throughout the body of the score. 
 
Do you think this last decade was particularly...mmm.. less inspired because Zimmer was on tour for most of it?

Okay, giving it some thought after going through the LLL set and KB promo a few times, I think I've nailed down every track that has Badelt's involvement from what's currently available:

X-Men Main Title (Film Construct)
Ambush (Film Edit)
Helicopter Hijack (All Versions)
Kelly In Prison / Beach
Train (Both Versions)
Xavier Falls (Film Version) [Though there's a possibility he's on the original as well.]
Museum Fight (Film Version)
Museum Fight (Continued)
Museum Fight (Part 1 Alternate)
Fight On The Head [The Statue Of Liberty] (All Versions)
Why Ask Questions / Finale / End Credits (Film Construct)

Ones that I'm unsure about:
-Bar Fight [There's a repeating chime here that sounds similar to what's on the promo version of Inside The Statue, but I imagine that's more a tracked element than something Badelt did.]
-Ambush [The album version lacks a lot of pieces that are on the promo version, so it's debatable if he has any presence on the original finished cue.]
-Cerebro [This one supposedly was listed on a website, presumably the old HZ.com music player. If I had to guess, Hybrid likely picked this track as a result of it being the closest match to the main titles.]
-Land Of Tolerance (Film Version) [The drum sounds at the start fit in well enough with the regular elements of his work here, but it's not prominent enough on the promo to be sure.]
-Inside The Statue [I have my theory that this track was never properly finished in the first place, so the one on the promo likely was an early effort by KB to assemble a full cue out of what was available. The final edit is mostly tracked, so again his involvement is debatable.]

A particular oddity:
-X-Men Titles (X-Men Logo V.3) | X-Men Logo V.1 [This original composition that was rejected features an instance at the 0:40 mark that sounds a lot like the main Kamen X theme. I hesitate to say for sure it is, since it's kind of common sort of melody in superhero scores (Elfman Spidey and even Badelt's own TMNT). So with that, I remain undecided on if it should count as part of the regular score.]

Other notes:
-There are many instances in the MK portion of the KB promo where material you'd normally hear performed by an orchestra are instead played through a MIDI keyboard, implying Badelt was working with an incomplete copy of the score. This gives credence to the notion that Klaus was brought on by Kamen itself, or was at least kept to the side by Fox early on.

Okay, giving it some thought after going through the LLL set and KB promo a few times, I think I've nailed down every track that has Badelt's involvement from what's currently available:

X-Men Main Title (Film Construct)
Ambush (Film Edit)
Helicopter Hijack (All Versions)
Kelly In Prison / Beach
Train (Both Versions)
Xavier Falls (Film Version) [Though there's a possibility he's on the original as well.]
Museum Fight (Film Version)
Museum Fight (Continued)
Museum Fight (Part 1 Alternate)
Fight On The Head [The Statue Of Liberty] (All Versions)
Why Ask Questions / Finale / End Credits (Film Construct)

Ones that I'm unsure about:
-Bar Fight [There's a repeating chime here that sounds similar to what's on the promo version of Inside The Statue, but I imagine that's more a tracked element than something Badelt did.]
-Ambush [The album version lacks a lot of pieces that are on the promo version, so it's debatable if he has any presence on the original finished cue.]
-Cerebro [This one supposedly was listed on a website, presumably the old HZ.com music player. If I had to guess, Hybrid likely picked this track as a result of it being the closest match to the main titles.]
-Land Of Tolerance (Film Version) [The drum sounds at the start fit in well enough with the regular elements of his work here, but it's not prominent enough on the promo to be sure.]
-Inside The Statue [I have my theory that this track was never properly finished in the first place, so the one on the promo likely was an early effort by KB to assemble a full cue out of what was available. The final edit is mostly tracked, so again his involvement is debatable.]

A particular oddity:
-X-Men Titles (X-Men Logo V.3) | X-Men Logo V.1 [This original composition that was rejected features an instance at the 0:40 mark that sounds a lot like the main Kamen X theme. I hesitate to say for sure it is, since it's kind of common sort of melody in superhero scores (Elfman Spidey and even Badelt's own TMNT). So with that, I remain undecided on if it should count as part of the regular score.]

Other notes:
-There are many instances in the MK portion of the KB promo where material you'd normally hear performed by an orchestra are instead played through a MIDI keyboard, implying Badelt was working with an incomplete copy of the score. This gives credence to the notion that Klaus was brought on by Kamen itself, or was at least kept to the side by Fox early on.

Anyone who moans about JW's sequel scores lacking new themes, or missing Duel of the Fates type music, really doesn't have a clue what they're talking about.

Much as I do love some of the others (I also gravitate towards MMT and AR a lot), Sgt. Pepper is the only real option for me currently. Really easy to get wrapped into listening to the full thing, and I just admire the general atmosphere and style of it.

Much as I do love some of the others (I also gravitate towards MMT and AR a lot), Sgt. Pepper is the only real option for me currently. Really easy to get wrapped into listening to the full thing, and I just admire the general atmosphere and style of it.

I'm a contrarian who likes Magical Mystery Tour
Abbey Road is a very close second.

I really like his Ice Age score. 

It's not like he's the writer or director of the film. An actor can still fit the role well if the production around him can give him all that is necessary. There's probably quite a few people in various adaptations that haven't bothered with their source material, so it matters more if the movie itself actually has any worth.
 
Also, films? I thought there could only be one.

Arrived today:
 

 
Karol

Am I the only one here who prefer Forever to the two Elfman's scores? (even if I find them excellent too)

I received my copy a few days ago, and I am quite happy with the set. The best part being all the unaltered versions of cues that were significantly changed in the film. It gives a better idea for what Kamen wanted out of the score, as well as further cementing some of the ideas that would've been lost in the edits. Can't say it's the significantly different experience I was expecting, but I can say that it helps me understand just how much of it truly was the vision MK had in mind.
 
As for whether or not I think KB had any significant involvement in the post production work of the score: based on the only real evidence at hand (the previously mentioned website promo), I'm going to say no. A lot of the elements that are on prominent display there is, well, the electronic percussion. There's nothing to really suggest that he had any particular input on some of the more out there editing choices, especially with the cues that are included. Plus, given the fact there are MIDI synth parts that would be replaced with a live orchestra in the final score, I'm further inclined to believe that he was personally brought on by Kamen early on. It's just hard to say for sure without a contemporary comment by Badelt himself, but I think this is the best guess we'll get for the time being. He simply did the job we was assigned to do.
 
Also, love the alternate artwork on the back of the booklet. Is that present on other LLL sets?
 
 

I received my copy a few days ago, and I am quite happy with the set. The best part being all the unaltered versions of cues that were significantly changed in the film. It gives a better idea for what Kamen wanted out of the score, as well as further cementing some of the ideas that would've been lost in the edits. Can't say it's the significantly different experience I was expecting, but I can say that it helps me understand just how much of it truly was the vision MK had in mind.
 
As for whether or not I think KB had any significant involvement in the post production work of the score: based on the only real evidence at hand (the previously mentioned website promo), I'm going to say no. A lot of the elements that are on prominent display there is, well, the electronic percussion. There's nothing to really suggest that he had any particular input on some of the more out there editing choices, especially with the cues that are included. Plus, given the fact there are MIDI synth parts that would be replaced with a live orchestra in the final score, I'm further inclined to believe that he was personally brought on by Kamen early on. It's just hard to say for sure without a contemporary comment by Badelt himself, but I think this is the best guess we'll get for the time being. He simply did the job we was assigned to do.
 
Also, love the alternate artwork on the back of the booklet. Is that present on other LLL sets?
 
 

The fact he only says physical releases makes me think either premieres of unreleased scores or represses of out of print or previously digital only scores. Would love to be proven wrong though.

Also, if anyone wants to get a good idea on how much of a clusterfuck things were with the score, here's 4m6c in its various forms:

The original written cue:

Badelt's (presumably) initial additions to the track:
Final film edit:
 
(Given I can't find any other YT upload of the proper OST track, I might post the relevant section of the album if need be.)

That one is a bit tricky to pinpoint, since a lot of the time, it more has to do with the geoblocking that can happen with official videos, based on what is available in each country. If anything, unofficial uploads actually can have more of a chance at future proofing (if they aren't taken down or also geoblocked, that is).

That one is a bit tricky to pinpoint, since a lot of the time, it more has to do with the geoblocking that can happen with official videos, based on what is available in each country. If anything, unofficial uploads actually can have more of a chance at future proofing (if they aren't taken down or also geoblocked, that is).

Took advantage of the sale and got it along with the new X-Men set and Bumblebee of course. 

That particular blurb stood out to me because X1 doesn't sound anything like Unbreakable or Batman Begins. Especially since the former score only really has the beat in the main theme to qualify as an electronic element, plus some ambient textures in areas. For X1 itself: the final form of the score is filled with too much messy 90s techno (that probably was added thanks to The Matrix) for it to remind me of subsequent contemporary superhero scores.
 
That being said: given those light touches that I mentioned, it could be feasible for JNH to add those elements after watching X-Men, given that a large part of the score would've been orchestral anyway. So maybe as a means of touching up the sound for what is supposed to be a more realistic take on the superhero genre. Guess we'll have to see if the booklet clarifies that comparison.

Turned? He's had this behavior since Buffy, as one actress stated that her character was harshly written out as a result of her getting pregnant and Joss getting pissy about it.

X-MEN: EXPANDED LIMITED EDITION SOUNDTRACK (2-CD SET)
LLLCD 1504
Music by Michael Kamen
Limited Edition of 3000 Units
RETAIL PRICE: $29.98
STARTS SHIPPING MAY 11
 
Order yours starting MAY 11 at 12 noon (pst) at www.lalalandrecords.com

La-La Land Records, 20TH Century Studios and Universal Music Special Markets proudly present a limited edition, 2-CD expanded and remastered release of renowned composer Michael Kamen’s (DIE-HARD, LETHAL WEAPON, ROAD HOUSE) original motion picture score to the 2000 big-screen superhero action-drama, X-MEN, starring Hugh Jackman, Halle Berry and Patrick Stewart. Composer Michael Kamen expertly melds acoustic orchestra with a wide range of synthesizer textures, samples sounds and processed effects to fashion an exciting and urgent-sounding contemporary score that would not only play a vital role in successfully launching the blockbuster X-MEN motion-picture franchise and, with its unique sound, but also pave the way for such notable scores by others like UNBREAKABLE and BATMAN BEGINS. This expanded, remastered 2-CD presentation of the composer’s last score for 20th Century Fox features the film score on Disc 1, with original album tracks and additional music showcased on Disc 2. Produced by Mike Matessino and Neil S. Bulk and mastered by Matessino, this limited edition of 3000 units also features exclusive, in-depth liner notes by writer Jeff Bond and heroic art design by Jim Titus.
 
TRACK LISTING:
DISC 1
1 Death Camp (Film Version) 3:07
2 Rogue’s Kiss 1:51
3 Senate Discussion 2:25
4 Bar Fight 1:34
5 Logan Drives 1:05
6 Ambush 3:27
7 They Knew / Laboratory 3:57
8 School Montage 3:15
9 Helicopter Hijack 1:00
10 Kelly’s Transformation 3:23
11 Jean Reads Logan’s Mind / Nightmare / Rogue Heals Logan 3:24
12 Kelly In Prison / Beach 2:48
13 Bobby And Rogue 1:09
14 Cerebro 2:11
15 Logan And Rogue In Train 3:53
16 Train 2:37
17 Magneto Stand Off 3:01
18 Xavier Reads Kelly’s Mind 2:10
19 Kelly Dies 1:36
20 Xavier Falls 1:23
21 Jean Uses Cerebro 1:34
22 Land Of Tolerance 2:01
23 The X-Jet 3:48
24 Over The Wall :33
25 Museum Fight (Film Version) 3:19
26 Museum Fight (Continued) 1:39
27 Logan Kills Mystique :59
28 Fight On The Head 2:40
29 Final Showdown (Film Mix) 2:30
30 Logan Holds Rogue 2:45
31 Jean And Logan 1:57
32 Logan Says Goodbye / Why Ask Questions / Finale 3:43
TOTAL TIME DISC 1: 77:24
 
DISC 2
ORIGINAL ALBUM TRACKS
1 Death Camp 3:04
2 Mutant School 3:48
3 Magneto’s Lair 4:59
4 Museum Fight 2:23
5 The Statue Of Liberty 2:39
6 Final Showdown 2:30
7 Logan And Rogue 6:01
 
ADDITIONAL MUSIC
8 X-Men Main Title (Film Construct) :55
9 Senate Discussion (Revised) 2:32
10 Wolverine In The Ring (Film Construct) :28
11 Logan Drives (Film Edit) :36
12 Ambush (Part 1, Full Take) :58
13 Ambush (Film Edit) 2:17
14 Helicopter Hijack (Alternate) 1:01
15 Helicopter Hijack (Film Version) 1:10
16 Cerebro (Film Mix) 2:04
17 Train (Film Version) 2:34
18 Magneto Stand Off (Film Mix) 2:54
19 Kelly Dies (Film Version) 1:06
20 Xavier Falls (Film Version) 1:01
21 Jean Uses Cerebro (Film Version) 1:24
22 Land Of Tolerance (Film Version) 1:53
23 The X-Jet (Film Version) 2:04
24 Museum Fight (Part 1 Alternate) 2:02
25 Inside The Statue / Logan Escapes (Film Construct) 3:48
26 Fight On The Head (Film Version) 2:28
27 Logan Holds Rogue (Film Version) 2:29
28 Jean And Logan (Alternate) 1:58
29 Why Ask Questions / Finale / End Credits (Film Construct) 11:11

TOTAL TIME DISC 2: 75:24

2-CD TOTAL TIME: 2:32:48

It's not that people don't like his music, its that they don't like how popular his style is in the industry, as if, "Want to be successful? Compose like Zimmer." Some composers throughout the centuries have written good music that's more digestible and popular than others. It doesn't mean it's great music.

That's not too dissimilar from what I tried doing, but there's a few score cues that I have a hard time getting rid of. I'm much more forgiving of the noisier sections, also.

Here's my initial crack at what a condensed set looks like:
The Crew at Warpower
No Paradise, No Fall
Wonder Woman Defending / And What Rough Beast
The Provenance of Something Gathered
Cyborg Becoming / Human All Too Human
The Path Chooses You
Aquaman Returning / Carry Your Own Water
The Will to Power
I Teach You, the Overman
Batman, an Invocation to Heal / To Be Seen
Underworld
Superman Rising, Pt. 1 / A Book of Hours
Monument Builder
Monument Destroyer
Earthling
Flight Is Our Nature
Indivisible
And the Lion-Earth Did Roar, Pt. 1
And the Lion-Earth Did Roar, Pt. 2
Superman Rising, Pt. 2 / Immovable
At the Speed of Force
We Slay Ourselves
Flash, the Space to Win / Our Legacy Is Now

My current reservation with it is that the Batman suite track isn't in a particularly good spot, given it'd probably work nicer in an even shorter set without much narrative. Kind of interrupts the flow as is. It could be mitigated by replacing it with the snippet of it that appears in the main score (Things Fall Apart), plus getting rid of the other two suites for further time efficiency (replacing the opening track with A Hunter Gathers). Also, the main theme doesn't quite have the amount of play that I think it should with this configuration. I'll just have to see where I go from here.

I figured if I ever actually listened to this in one sitting, I'd likely be exhausted. The fact I have only ever heard the album through individual chunks in the day has probably helped form the positive impression that I have of it.

My effort to make a playlist hasn't gone too great, given that I still got about 2 hours of material so far. It doesn't help that the suites alone are already decent representations of most of the score, so I wanted to mostly stick with the main score cues (plus emphasize the new stuff over the reprises). I'll see if I can figure something out in my free time.

On a Qatsi listening streaks this week… now onto Powaqqatsi. Probably my favourite of the three of Glass’ scores from an enjoyment perspective. The fusion of minimalism and world music is absolutely terrific here. The well known (three part) Anthem will be familiar from the Truman Show but the rest of the score is well worth exploring.