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  1. After a shit ton of postponements it's finally out. Excellent arrangements of Bond songs, IMO Always wanted a album like that, I know that there were some in the past but this one hits me in all the right spots
  2. I don't really know WTF happened to this recording, since the movie is clearly using another mix. LSO sounds flat and uninspiring, there is a distortion heard in the right channel sometimes. Same is happened to Ready Player One and Infinity War, last one suffers especially. But if you compare original Avengers which was recorded with LSO too with godawful album version of Endgame when it quotes the music from the first one, difference is the night and day. Original is punchy, vibrant and dynamic and Endgame... Meh. I mean, even quotes from First Avenger which is not LSO sounds better on the OG album too. I wonder who mixed all this stuff...
  3. Williams once explained that he used Leia's theme in the moment when Vader "kills" Obi-Wan because this theme was most dramatic of all in original SW. P.S. That's what is said about this in the 97 SE RCA re-release: Interestingly, Williams uses Princess Leia's theme at the moment Ben vanishes, deferring to the purely musical effectiveness of the sweeping melody over any apparent thematic relevance, although the theme does reinforce the connection between the Princess and the old Jedi suggested by her holographic message.
  4. You are right about connection to Luke. But TROS still makes no sense. Reprise of the moment when Luke is lifting X-Wing for Rey is absolutely understandable, but not this one in finale.
  5. Why the heck Yoda's and Luke and Leia themes are detached from the characters in the track Reunion? Since when Yoda's theme means victory and Luke and Leia theme now belongs to other characters, this is because that girl can be daughter of Lando? Makes no sense and this is the most head-scratching moment of TROS for me in terms of the score.
  6. I think that it's pretty nice database and reviews sometimes can contain interesting stuff. But most of the time reviewer writes bullshit, some ratings for the albums are joke and the fact that the people on this site rarely can stand a score with electronics is a joke.
  7. I'm pretty much new to this expanded release and I know that it's reputation here and in Filmtracks review is kinda bad. What is exactly wrong with it? How they even f-ed it up if JW was involved and this is La-La Land and they are have a very little list of fails, to my knowledge And I also remember some criticisms of Murphy here, what's wrong with him? For me he is a guarantee of superb recording and mixing quality. Hook is 30 years old score now and it sounds insanely well, and how he mixed Prequels, for example, just blows my mind. LSO and Abbey Road rules, he rules too.
  8. Is there a similar breakdown for the part three?
  9. Herrmann suffers from the same things as any other "old" composer: lack of works avaliable in digital, not that good sound quality and e.t.c. And I think our good old Johnny Williams is easily beats him
  10. Can't even say anything about this. Simply so great that I have no words. I'm pretty sure that you can find some purists which will say something like "ew he is a movie composer so it doesn't count" Dumb
  11. I completely agree with you. Original SW is kinda restarted movie music. And the fact that this man in his 90's and can write like 2 or 3 hours of original material is simply mindblowing. Hans Zimmer and his RCP hacks really can only dream about this.
  12. Any score from 20 century and earlier than 70's not by any composer above which will change my mind Or it will be better if you suggest some composer with really strong set of works.
  13. I know that this topic have been beaten to death but anyways. Honestly, I'm not very familiar with older scores, I mean earliest scores outside of the early Williams works like Jaws that I've listened were John Barry Bond scores. And what about the later years, Williams is definitely unmatched. He have strong director-composer relationship with Spielberg, plus amount of the legendary themes that came from him is insane. He also was pretty good about the movie choices, and even his average score is still above all others. I love every era of his action writing, since I'm blockbuster guy when it cames to the soundtracks. The way he handles leitmotifs is unmatched too, just look again on the SW, where every score feels like grand operatic event, this is especially true to the ROTS finale. When it cames to leitmotifs the only scores to match it IMO are LOTR and HTTYD trilogies. Schindler's List have played key role in my liking some softer scores, but this is still not my cup of tea a bit (this score is still brilliant and among the very best too) But like the movie itself, it is so heartbreaking that sometimes I'm really find hard to listen it in full. I've seen the movie only once, same reason. Plus the fact that he scored so much franchise movies and established so many thematic material in them, I mean Jaws, Superman (Returns would be nothing and dull if it was everybody else except Ottman, he did so good, and I imagining sometimes about alternate universe, where Williams scored both Superman 2 Director's Cut and Returns), Star Wars, Indiana Jones, Jurassic Park, Home Alone, Harry Potter, damn. Yeah, I know about Goldsmith and Horner, I like them, but Goldsmith scored pretty much not so big movies, Horner was much better in this case, but his self-plagiarism is kinda push away me a little. Fact here is that they did sometimes like a six movies in year and it all were pretty much meh. Horner in particular did 10 effing movies in 1993! I also like Silvestri, but I know that some don't like him, since he never evolved in terms of sound, but his snare-ripping action writing wins me every day. Elfman is my favourite too, but he has gone to mediocrity too quickly with some shiny moments, like Alice or Avengers 2. But Batman and Scissorhands are easily among very best of movie scores. It's really sad that David Arnold pretty much dropped movie scoring, because honestly I prefer his Bond scores to the Barry's, I know this is some kind of controversy, but still. The Living Daylights is the blast, though, because Barry managed to very successfully revamp Bond sound and themes in that score are great, plus this sick beat over any action sequence. Powell is clearly in the renaissance now, he clearly can made another one SW score and imagine if Gordy Haab will be scoring movies too, I know that he mostly emulate Williams, but still. And I also like Ludwig Goransson but he done very little in comparison to others so we need to wait and see. Brian Tyler also fine but he is more about combining RCP level of epicness with his much more melodic style. They all have very fine works, but problem here that in the most cases with movie composers overall there is John Debney situation: maybe one (or very few) really great score (Cutthroat Island) and tons of mediocrity. So am I wrong about JW? Maybe you can suggest some post-70's scores and composers that will change my opinion on this matter. But I doubt that there is another movie composer with the same quality level of Williams.
  14. A-Team by Silvestri. Find it very entertaining. If you want yet another high-octane action score by him, it's the choice to go. Flying a Tank easily one of his best blockbuster setpieces.
  15. Oof, too hard, I love all of them, but let's try, one per movie, I think: Backseat Driver (with film insert) Caviar Factory Ice Palace Car Chase African Rundown Pursuit at Port au Prince I'm on the Bond craze too and damn NTTD is boring, I like it, but I have no idea how another Zimmer dun-dun style action score is compared to the likes of Arnold. I wish they had him on all five Craig movies, despite all this stuff with director choices and etc
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