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Tom Guernsey

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  1. I can't say I recall the original soundtrack sounding that bad, although mine is from the double CD release which includes the aforementioned "complete" score on the other disc so perhaps that version of the OST sounds better and Spotify use the original mastering?! Dunno! Or that ;-)
  2. Definitely! What's weird is that he can't possibly be happy with the existing expanded version taken from the film stems (I believe) so there's lots of abrupt edits and fade outs. Better to get the original elements for a definitive version. But back to the topic... Hook... vinyl... anniversary... where's the expanded 3CD version?! Agh?! Etc. ;-)
  3. The Planets (Anže Rozman & Andrew Christie) - Impressive mix of orchestra, chorus and synths for the 43265234th documentary series about the planets. Quite different to my usual listening but the mixture of all three elements is striking and the synth soundscapes are hugely effective. Is it bad that I kinda wish Zimmer's Dune was a bit closer to this? I mean, it's not massively far away in some places, but Rozman and Christie's music is far more interesting to me. Also worth comparing to Jim Meacock's entirely synth score from a similar mid-90s documentary, but Meacock tries to replicate an orchestral sound which doesn't quite work as just using the synths as instruments themselves. Dragonslayer (Alex North) - I'm still amazed that they kept North's score in given how uncompromising it is in places. Compared to the grand, memorable themes of things like Krull and Conan, it's pretty hard going at times. I used to struggle with it, but having developed a much more diverse taste in 20th century classical, North's music isn't as challenging. Indeed, the bits that stick out most are the comedy tracks such as Forest Romp and Galen's Escape which sound more like something James Horner would write for an animated movie. Also odd hearing North's unused space dock music from 2001 in Burning Village and the End Credits. Not sure it really fits either, coming across as weirdly whimsical alongside the grind of much of the rest of the writing. Quantum of Solace video game (Christopher Lennertz) - Sure I mentioned this recently, but very enjoyable and some great versions of the Bond theme woven in (even more cleverly than most of the film scores, even those by John Barry). Are there any other Bond video game scores worth checking out?
  4. Having listened to Sound of Cinema for a number of years and gone through most of the available back episodes I’ve only ever noticed a very small number of factual errors but this does seem to be a pretty major mistake! Strange as Matthew Sweet genuinely seems to like film music and it generally seems well researched. Guess everyone makes a mistake once in a while. My major issue with the show is more that casual listeners who might hear a score and want to check it out may be disappointed when they discover it’s a long out of print limited edition (or even a regular edition that’s long out or print). It’s not much use as a buyer’s guide.
  5. For score I picked The Egyptian as it's a score I really love, utilising the best of Herrmann and Newman. The original tracks don't sound bad at all although I listen to the re-recording most often. Much though I like The Ten Commandments I have to admit that I've not listened to the full score more than once given how poor the elements often are. The stereo re-recording has all the highlights and super sound (the original release of that sounded pretty decent, I hadn't realised it was a re-recording and was always surprised it sounded so good for the vintage!). Cleopatra is great, of course, but I still vastly prefer Spartacus. I don't recall Land of the Pharaohs but will have to give the Bernstein re-recording another listen. I've never heard the original, given that it's from 1955 I assume the sound quality is a bit hit and miss? For films, I've only ever seen The Ten Commandments and can't say I ever enjoyed it much. I would have to agree with the poster who preferred The Prince of Egypt. On that note, I probably prefer Zimmer's score. Elmer's is a classic, of course, but it's very broad and epic. Zimmer captures much more of the majesty and mystery, as well as the tragedy, especially in tracks like The Burning Bush or Crossing the Red Sea. I really like Stephen Schwartz's songs too, but you can enjoy Zimmer's score on its own. It could use an expanded edition as there's a few missing score tracks that really add to it.
  6. Maybe I'll give it another listen but it just kinda passed me by... TTSS I will have to listen to again. Same for the Legrand Three Musketeers. I don't remember it.
  7. Che (Alberto Iglesias) - Not sure what I was expecting, but found this to be largely underwhelming. Disappointing compared to his usual high quality. The Four Musketeers (Lalo Schifrin) - Very enjoyable mix of overblown orchestral fun and quasi historic/authentic writing replete with harpsichords (not unlike what Michael Kamen did with 90s version of The Three Musketeers). The only real downside is the crummy sound, especially in the middle registers, which are muffled. Could use a thorough remastering. Valley of the Dolls (JW) - JW's underscore is, as expected, great fun and tuneful. The songs (by Andre Previn, I think?!) are very much of their time but fit well alongside. Has anyone tried to get this one re-released? I can't imagine it's high up on JW's radar!
  8. RIP indeed, but a fine age to live to and a great legacy. His recording of Shostakovich 5 was the first one I bought and remains my favourite to this day (he doesn't labour the finale as much as others) and the double Philips album featuring his recordings of Debussy complete (or nearly) orchestral works was my introduction to Debussy and remains a favourite. Listening to his superb Shostakovich 10 (coupled with the 2nd, which I still don't like much, good though this performance is) in tribute.
  9. I love witty repartee and insightful comments like that.
  10. Funny, as I'm sure he has many thousands of adoring fans... even members of the public can identify his Pirates of the Caribbean and Gladiator music, yet he picks a fight with someone who didn't like Dune (I didn't much either... there's any number of composers who could have done something more interesting, including Hans in a different mode, i.e. tuneful). Funnily enough, The World of HZ came up on my playlist and it's great, even if I only like about one out of every 3 of his scores, but the best ones are terrific (even if they are basically blocky and anthemic written on a keyboard type music, doesn't make it much less enjoyable). No need for him to be such a defensive dick when someone doesn't like it.
  11. They should do an Elfman one where every track title clue is “Final Confrontation”.
  12. That’s a fair comment. I guess the only reason is due to it being the same show. I have to admit that I never thought to directly compare with the music for the original series either. But then I never really cared for much of the music from the original show (outside the iconic main theme of course). I think Akinola set things off badly for me from the opening episode where the long section at the end set in some industrial area with cranes was just a pulsing bass thing that didn’t go anywhere musically or dramatically. It got better and some of the later music was pretty decent but never blew me away.
  13. Totally agreed, probably my favourite theme for the Doctor - even if it's much more about his adventurous side than the mysterious/melancholy side. I think it's fairly likely that Murray Gold will return given that RTD has used him for all of his recent shows. Agreed that Akinola's music has been somewhat underwhelming. Not awful, but what Gold wrote was a whole other level. What's great about that trailer is that the show was as exciting as the trailer made it look...
  14. I’ll give it a listen. But first Sheena Easton… For Your Eyes Only… only for you… you’ll see why no one else will see. Mind you, I can’t imagine her singing that about Daniel Craig… although the passions do collide in me. Hmmm.
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