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About Gurkensalat

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  1. I do not think one should call a track underrated that was chosen as the title for a Deutsche Grammophone Anne Sophie Mutter CD.
  2. In recent years no, that has not backfired on me, since all major Williams releases I was interested in were available long enough. If something I want nears OOP stage, I tend to buy it earlier, of course. A least partially thanks to your availability thread I was never surprised when some title was OOP. In the beginning of my collecting days it happened e.g. with Spacecamp, but this got available again. Until then I had my old cassette recording from the 80s to tend me over. About classical music: I personally come from the classical world, playing violin and so, and only discover
  3. You realize, that you will get answers in this thread only from people, whose interest has not waned so much that they do not visit this forum any more? :-) For me, a big No. Simply because I do not have that much free time on my hand which is divided between several interests and hobbies, so I often buy a new expansion years after it got released (because only then I managed to properly listen to the expansions I bought before). That makes me independent from the release schedule. Also I take the opportunity of a release lull to explore other composers that I do not know half as m
  4. This is what I tried to convey earlier in this thread. The multichannel mix is a recording marvel, one of the best and realistic recordings I have ever experienced. It conveys the acoustical picture from the live concert perfectly, where any technical flubs were not very noticeable and vanished in the glorious whole experience. The stereo mix is thick, narrow and not very pleasing. Some flubs seem to stand out there much more. Ah, so this was a joke, not a criticism. Understood.
  5. I found this the one concert with the least amount of annoying public sounds I ever experienced (hundreds). The concentration and dedication of the listeners was palpable. I do not remember any coughs or other noises except the clapping at the beginning of Imperial march.
  6. Oops, I thought they were all coming from the same source, but now I realize that this is not Omnipublishing. Sorry!
  7. Those shipping charges to Europe are really prohibitive. I am interested at Star Trek, Train your Dragon and Aliens, but will wait in the hope for more reasonable shipping. Of course, should Something like Star Wars be announced, I might reconsider :-)
  8. That is not correct. Several pre-Jaws scores have no pop music elements, e.g. None but the Brave, Images or Jane Eyre.
  9. I was listening to Lost in Space and Time Tunnel recently and was surprised how much of the musical language of Star Wars, especially the first one, is already there. Much more than in the film scores of this time. Another key score for me is Tintin. It started the renaissance of Golden Era Williams sound in the 2010s.
  10. In my experience cassette desks are the hifi equipment most consistently prone to breakdown. My own and my dad's died all after about 10-20 years (Onkyo, Yamaha, Pioneer). There are a lot of mechanical things that can break.
  11. The interview is clearly a bad translation into German, so everything has to be taken with a gram of salt. Example: Calling Yoda‘s Theme „vermindertes B-Dur“ makes no sense. It is probably a verbatim translation of „B flat major“, where the flat is being translated as „vermindert“. But B flat is just „B-Dur“ in German. So, obviously a translation hack job which is not worthy to be translated back into English. I would love to get my hands on the English original.
  12. Spielberg is still involved, right? So I would hope that he would prevent that. That would be the absolute dream! Still hoping.
  13. I am surprised, are those real? A lot of puns and name dropping in this list, who thought of those titles? Did they invite Giacchino?
  14. Tintin for me. Crystal Skull is very good, but Tintin is brillant
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