scallenger

Thank you for all the input guys! I am glad you are all taking it seriously! My response at this moment is short and I will be PM'ing some of you, I think, but perhaps something really can happen with all of this! I am also really intrigued about the program mentioned that can turn my hums into a MIDI file. What is it called? By the way, for those that have a cell phone that can record sound bytes, that is how I get a lot of themes-on-the-spot in some kind of form. I immediately take out my phone and record a sound byte (it can hold about a minute I think) of me humming and save it. Thats how a lot of mine are saved. Its convenient!

Alright... don't laugh at me... okay... maybe you can laugh a little... but I have a odd proposition. For many, many years I have had musical themes in my head. I write stories a lot, and sometimes I come up with little themes for them. Sometimes I even come up with entire musical set pieces in my mind (even action). It's become stronger as the years have gone by. I guess you could call me a struggling composer, if mostly due to the fact I don't play any musical instruments or know how to read music. And I have tried, and for some reason it doesn't click with me. It's like learning another language, which I have also tried (Spanish) with the same results. I guess some people are only built for certain things. It frustrates me to no end because I really think if it did somehow click with me, I would be really, really good. And it would finally get so many things off my chest and finally be able to hear these themes from my mind come to life. And that would be the ultimate treat in itself, no matter how successful. So... ehm... well I was wondering if any of you who do know how to read/write music and have the special talent of being able to "play/write by ear"... if I sent you recordings of me humming/whistling/describing certain themes or ideas if maybe you could attempt to compose them for me? It would be a joint effort, and could be a really engaging and rewarding experience where both get equal credit and recognition. Obviously I am not doing this to try and sell it or make any money, but who knows, if the relationship between me and whoever makes these things continues and thrives, maybe it could be something big? I bet some of you are either laughing your a**es off right now or rolling your eyes and turning away, which is fine. I think I probably would too if it weren't me writing this. But this is how anxious I am. Or, maybe one of you could just teach me how to understand reading/writing music, since the teacher at my school failed miserably to do so.

As noted by Mark O, there was the official CD that had mostly songs and a few tracks of Goldsmith's score. And yes most of the bootlegs have a lot of hiss. There are two main different bootlegs of this score. One has most of the score and is in decent sounding quality. There is hiss, but it isn't overbearing and doesn't take away the listening experience. Especially for a score from the mid 80's. But there is another bootleg out there (and I don't think it is a DVD rip) that appears to be the complete score. However, this one is overbearing in hiss and is not enjoyable to listen to at all. I would say it is worse than the worst quality tracks of the Last Crusade bootlegs. I... *cough* may have one or both of those *cough* if you want to *cough* talk about them... *starts coughing uncontrollably* GREMLINS needs to have a official CD release for the score. And judging by all of the releases of Goldsmith's old scores coming out recently (obviously due to his untimely death) I am hoping it is only a matter of time. It really was one of his best scores and definitely one of his most original. As for Honey, I Shrunk The Kids, there is pretty good sounding bootleg of it's complete score. It uses a lot of tracks from what I am guessing was a limited edition CD that had tracks from Honey, I Shrunk The Kids and some other James Horner score. However, from some unknown source comes the rest of the cues from the movie, in varying quality. Some have more hiss than others, but even the ones with the most hiss don't sound that bad at all. I may *coughs again* also be able to talk to you *cough* about that one. It's a shame that that score, however, probably will never get an official release due to all the copyright issues involved with James Horner "borrowing" the Amarcord theme...

Yes, because it features music not on those 2CD releases, including the original film version End Credits of RETURN OF THE JEDI, and the Lapti Nek song that plays in Jabba's palace in the original version of RETURN. Although the latter may not be much of a track to some. But for completeists, it is.

There are three very specific films from my childhood that stick to my mind in regards to what movies and their scores got me into soundtracks. The first obvious one for me was JURASSIC PARK by John Williams. I saw the movie when I was 6 when it came out, and even though my parents urged me not to have any desire to see it because it would be too scary, I was such a dinosaur fan already I HAD to. Especially one day I was at my town's local park which was right next to a Drive-In theater... that's right... a Drive-In theater... and I saw a glimpse of the movie on the screen. My parents eventually gave into my demands, and boy was I taken in right away by the music once the characters take their "Journey to the Island". And of course... being so young... my parents were right. The movie scared the me sh*tless! Especially the part when the Dilophosaurus (Spitter) attacks Dennis Nedry, with its frill shaking and spit landing on Nedry's shirt. And of course afterward when it's in the car right next to him... that did it for me! But as scared as I was it was always a treat to be in a car watching a movie projected on a big screen out in the open. It's an experience I wish I could re-live, however the Drive-In was closed long ago, and even the screen is demolished. Anyway, I had nightmares after I saw the movie... but for some incredibly strange reason I wanted to see it AGAIN. My parents were extremely puzzled, but they eventually let me see it at least one more time at a regular theater out of town. And after that... I was somehow magically hooked. It became my favorite movie, and it still is my personal favorite. Now, as for the music... it wasn't until years later when my Aunt and Uncle gave me a cassette mix of soundtracks from various movies (they were apparently movie score buffs) that I got to hear Jurassic Park's score apart from the film. I always noticed it in the film, and always wanted to hear it alone, but never got a chance or any way to do so. Although the mix she made only had a few tracks from it, it was enough to get me hooked in obtaining the real thing. When I did... it gave me this magical feeling everytime. Like I wasn't in my house or in my backyard anymore... but some place else. Some place that felt even more like home, in some ways. It was comforting. Escapism. And the melodies were a delight. Even when things got "scary". Things have never been the same for me since. I mentioned that there were two other films that got me into movie scores. Both I never saw in theaters and didn't obtain their scores (neither officially released) until about 5 years ago. But they had such a distinct impression on me just from watching their films. These would be Jerry Goldsmith's GREMLINS and James Horner's HONEY, I SHRUNK THE KIDS. GREMLINS took me every time when the end credits would roll and the "Gremlins Rag" would play. It was such an addicting and zany and strange musical piece, and for years I would never even get to hear the whole thing because whoever was watching it with me (mom or dad or sister) they would stop the film not long after the end credits just started! As for HONEY, I SHRUNK THE KIDS, right from the opening title cartoon sequence I was in love with Horner's jazzy number. Sure, its partly a stolen piece (like much of Horner's music, hehe) but I had no idea about that in my young age, and even if I did, his use of it is so frantic and crazy that it pretty much is original. A factor I need to mention that all 3 had in common was the fact that at some point in each film, things would get intense and the music would reflect it. The climax of JURASSIC PARK with the raptors at the visitor center, the mom fighting the GREMLINS in the kitchen, and the lawn mower trying to suck the kids up in HONEY, I SHRUNK THE KIDS, for example. Each time I saw/heard these parts, I was utterly caught up in the moment of the intensity, and the music was totally ingrained in my mind. Like an adrenaline rush. And not all climax moments or intense moments in film scores work in this way for me (example: virtually any Media Ventures score). It has to be done in some intense, clever, and terrifying way, usually enhanced by doing a scary rendition of a previously heard theme. When a moment like THAT happens, I am hooked. And that pretty much explains the types of soundtracks I like most: those that feature lush, romantic themes (JURASSIC PARK), strange moments (GREMLINS), frantic craziness (HONEY, I SHRUNK THE KIDS), and intense, scary moments (all 3). Suffice to say, this combination is hard to come by!

It's kind of unfair to compare these two scores since they are drastically different in tone. The ESB VS TOD poll made sense because they were both action/adventure scores. But I don't for a moment consider ET an action/adventure score (only in a couple cues). So, I for one can't choose between these two because they are too different in style, and too different in their source films. Will TOD VS JURASSIC PARK be next?

Really? That many people didn't obtain DVD rips of the music long before the set came out? I guess that may be true, some people refuse to listen to DVD rips, even if that is the only way to hear a score (and pretty much, Temple of Doom's score was almost virtually unreleased til now). And I guess some people may have never heard the OST because they didn't want to pay for some expensive used copy or download it "illegally" online. I pretty much knew all of the music that came up on the CD, with some exceptions like Map/Out of Fuel and The Secret Passage (since they were SFX heavy DVD rips before, and I never included them in my edit because of it) and of course the new moments on the Concord CD that was never in the film (like the parts in Water!). So listening to this score this time around certainly wasn't a totally new experience for me. Sure the hell strengthened it though. So I'll be standing by my vote.

I love both, but I personally prefer Indiana Jones and the Temple of Doom. When I listen to Empire Strikes Back I rarely listen to it all the way through. It's a score where I usually want to get to the meat and potatoes, and every once in a while listen to it in full. But every time I just start a particular track of Temple of Doom, I either have to keep going on it's course from that point on or I may even start over from the beginning, suddenly aching to hear it all again. It's a score with a very tight pace and with always something interesting going on. Not only that, but so many cues flow into each other so well. Anyway, that's my input.

Fixed LOL! Jason you're funny.

Temple of Doom always was my favorite Indiana Jones score (and movie, btw, although some people will probably throw rotten eggs at me now for saying that). It always had the most frantic energy and the best renditions of the Raiders March within the score. When I had only heard the album and hadn't seen the movie yet (I was late in the game with the Indiana Jones movies) I thought the score was good but not much development. But then I heard all the unreleased score in the film... and I had a "holy cr*p" moment. The OST was missing more than all the best tracks! I acquired and created my own DVD rips of the unreleased material years ago when the DVDs came out and although the sound quality was sub-par, I listened to it more than most other soundtrack albums I owned! I didn't care, the music itself was of such a quality that it didn't matter. So when this set came out, even though I pretty much have heard all this unreleased music in another form (with some nice new exceptions), my feelings of the score were elevated only a little bit higher due to the boost in sound quality. Sure the set's representation of the score wasn't my ideal vision, but with about two weeks worth of tinkering and editing, I now have the score exactly the way I want it, with no major omissions in my mind. My old DVD rip set is pretty much thrown out the window. And now because the sound quality is so great for ALL the tracks I have grown to know and love, I play it EVERYWHERE. Even in my car. And if you have never listened to "Short Round Helps" (or in my case, the very end of my "Underground Chaos" edit) while zooming through tightly-cornered streets, then you have yet to live. So in short, yes, Temple of Doom is my favorite score.

Koray you are making me laugh my @$$ off right now!

I just think having something like a "*" to cover a letter in a word like sh*t is pointless. We all KNOW what the word is without the asterisk, it isn't going to stop anyone, or kids, from figuring it out. "But we don't want them to repeat it," they say. Well would you rather have them start saying "You piece of shstart!"? Kids will look at them not with shocked faces due to use of vulgar language, but shocked faces with "What the f*ck?!" expressions. They'll be laughed at. And in the end, they will be told what it REALLY means anyway, so they don't look like complete fools. My point is, why censor something that is inevitably going to be heard and told? I mean, just take a stroll down a busy neighborhood. It's part of people's natural vocab. And every time period seems to have its new ones, some nastier than others. And besides... if a PG rated film can say words like "d*mn" and "sh*t"... why can't a message board for fans of music? We're talking PG here... and if you are old enough to use a computer and post messages in a message board, then I hope to god you are old enough and mature enough to watch a PG movie...

And also, don't know if I mentioned, but I think I did a pretty good edit of "Water!" with "Sword Trick" with a DVD rip of "Bridge Percussion" with "Broken Bridge/British Relief", combined into one cue that I have renamed as: "Bid For Freedom". I gave the "Bridge Percussion" a boost and it sounds more vibrant than the usual straight DVD rip. PM me if you desire to hear the whole thing (and no I don't have my Bridge Percussion as a seperate file, I mixed it within the whole track, which, IMO, is the way it should be anyway. It's music that leads into the climax).

Well don't forget to PM me then, hehe. Really? I haven't heard her's yet I'll have to do so (or at least I don't believe I have). I forget if I ever showed you my new one, KM. It is a combo of the Concord Alt and just the last part of the film version. PM me if you want to hear it, because I think I sent you a different one before (just the film edit, which I also actually changed to fit your specifications, too.)

...so I could quote this one instead. oops, lol

I actually did an interesting edit of "Map/Out of Fuel". I guess it's a combo-edit of the Map section. I use the entire alternate of Map that appears on the CD instead of replacing the whole thing, I just added the last statement of the film version from the lego file onto it. The result? Virtually seamless, and now it's like you get the best of both worlds. Wanna see?

I actually just got back from seeing BOLT (along with QUANTUM OF SOLACE, which was just okay, score and film). The movie itself is actually pretty darn good for a non-Pixar effort. Definitely the best CGI animated film Disney alone has made. The music by Powell fit the film pretty well and there was actually a cool heroic theme that popped up here and there that I really liked. I heard from people that the CD release had only like 30 minutes? That's a shame because the film seemed to boast more score than that, I am wondering if a lot of the better moments were left off? I'll have to check out the CD and see.

If anyone is interested in a good NTSC Nightclub Brawl with Anything Goes overdub, PM me for a look at mine. Even King Mark gave it two thumbs up!

This is my personal edit of Indiana Jones and the Temple of Doom. It uses the 2008 Concord Expanded CD release (with some tracks from the bonus disc in the exclusive box set), a couple of DVD rear-channel rips, a short section from a Lego Indiana Jones game file, and a very short section from a re-recording. When I say this edit is personal, it means that it is intended to please me more than anyone else. So I am curious if anyone finds the look of my edit appealing. It's sort of a mix of other types people are doing. I haven’t made any pitch corrections to any of the tracks, for this always results to some loss of quality or clarity (at least to my ears). For my edit I was all about presenting the soundtrack without it sounding like it came from some bootleg or DVD rip. However, I have made volume level adjustments to certain cues. I combined a lot of tracks that flow together in a suite-like fashion, taking you on a crazy ride into the dark adventure Indiana goes through. However I had a rule not to make any of the combined cues be much longer than 10 minutes. Just a preference. To me this is the best way to listen to the soundtrack with what we have available. This is in no way intended to be a complete edit, but the most enjoyable one to listen to. And this music needs to be enjoyed, doesn't it? Here is a rundown of what I have done: 1. Anything Goes (Concord Release) 2. Shanghai Deal & Turmoil (Concord Release of “Indy Negotiates”, “The Nightclub Brawl” with a DVD rip insert/mix of the unreleased ‘Anything Goes’ moment with volume boost, and “Fast Streets of Shanghai”) 3. Plane Escape (Concord Release of “Map/Out of Fuel” with a brief unreleased extension to ‘Map’ from a Lego Indiana Jones game file, and “Slalom on Mt. Humol” with volume boost) 4. Indy And The Villagers (Concord Release, from Bonus Disc) 5. The Trek (Concord Release, aka “Short Round’s Theme”) 6. The Scroll-To Pankot Palace (Concord Release) 7. Nocturnal Activities (Concord Release) 8. The Secret Passage (Concord Release, from Bonus Disc) 9. Bug Tunnel-Death Trap (Concord Release) 10. The Temple Of Doom (Concord Release) 11. Approaching The Stones (Concord Release) 12. Children In Chains (Concord Release) 13. Short Round Escapes (Concord Release) 14. Underground Chaos (Concord Release of “Saving Willie”, “Slave Children’s Crusade”, and “Short Round Helps” with volume boost on the track and certain moments near the beginning) 15. The Mine Car Chase (Concord Release) 16. Bid For Freedom (Concord Release of “Water!”, “The Sword Trick”, DVD rip of the unreleased ‘Bridge Percussion’ with volume boost, and “The Broken Bridge/British Relief” with slight volume boost for ‘British Relief’) 17. Return To The Village-End Credits (Concord Release of “Return To The Village” from the Bonus Disc, a brief moment of a re-recording from the Indiana Jones Trilogy Silva Screen Records CD of ‘Finale and End Credits’ of Temple of Doom for an unreleased opening section with volume decrease, and “End Credits” omitting the opening section) Notice that I put the "Temple of Doom" track after "Bug Tunnel-Death Trap" instead of after "Children In Chains". To me this seems more fitting because in the film, it is after the "Bug Tunnel-Death Trap" scene that you see the first thugee ceremony take place (with the famous heart-ripping scene) and hear the memorable chanting music. The "End Credits" were a pain in the a** for me to do, I don't know if anyone else had as hard a time as I did trying to get the unreleased 30 seconds to fit in right. I tried MANY different takes using ALL of the different source options we have available, and the one I ended up choosing sounded the best (and the least like an edit) to me. Sure it uses a re-recording (and one that others have told me isn't as good as the RPO one) but I still stand by my decision. If you plan on burning this on CD as a 2-Disc set, my recommended presentation is: Have Disc One end with track 09-Bug Tunnel-Death Trap. Have Disc Two begin with track 10-The Temple Of Doom. PM me if interested to "learn more" about my edit, if interested. This is how I will listen to this soundtrack from now on. What a classic.

Oh my god this is the cutest thing I have seen in a while! lol.

And you all thought I was crazy! lol.

Since I am in the process or ordering and arranging my TOD cues... I couldn't help but wonder, if you ARE placing the track titled "Temple of Doom" in chronologically, where would it go exactly? To me there are two places it could go, based on preference I guess since there are two major places in the movie where the track (or versions of it anyway) get used. I personally think "Temple of Doom" should go right after "Bug Tunnel/Death Trap", because in the film, it is right after that scene that they see the Thugee ceremony take place, and a majority of the music from the track plays at this point. On the Concord release, however, they went with option two. They put "Temple of Doom" after "Children In Chains". I think they put it there because it is not long after the "Children In Chains" scene plays in the movie that the 2nd Thugee ceremony takes place, this time with Willie Scott. But there are bits of unreleased material intbetween all of this of course (most notably "A True Believer"). And in this scene the "Temple of Doom" track is all split up and interspersed with the "Short Round Escapes" cue, if memory serves right. So personally, in my chronological version, it makes more sense to put "Temple of Doom" right after "Bug Tunnel/Death Trap". Don't know if this went noticed, but THERAIDER.NET put up a review with some more pics of the set for anyone who cares: http://www.theraider.net/news/fullstory_me...dise.php?id=975

not sure what you mean You know... the music that plays... when that one thing happens... and then the other thing happens... and then it moves on to something else... I'm not crazy! lol Okay, I am. But if you watch the movie and compare the tracks you will hear it, too! And then you will understand... Just watch the part from where Indy says "Water!" all the way to right when they reach the cliff when the water starts bursting out.

Anyone notice that WATER! is missing a few seconds from the film version? I don't know the exact time or whatever, but I recall from the film there being a little bit more "frantic action" leading up to right when they are running toward the opening in the cliff, right before they reach it with the water bursting out. It is only a few seconds or so, but it's too bad this wasn't included. Oh well, I guess I would trade that for the new Indy opening that we ended up getting with that cue.

So you only treble boost a portion of the track? yes afterwards it is crystal clear.. the sound is very muddled when the fanfare starts, on the album.. So the treble boost starts when the Bristish fanfare kicks it, but should it end when the fanfare ends, or should the boost also effect the "Indy's safe" portion (the part in the movie when he climbs up over the ledge with the shankara stone in his hand)