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About danbeck

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    Sao Paulo - Brazil

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  1. I was never bothered by classical music adaptations/inspiration in film scores. I tend to love Horner's scores that do it a lot like Willow. What really bothers me is the score reflecting temptracking of other scores. This is something I find highly distracting most of the time.
  2. I tend to prefer when the classical piece is used as an inspiration but adapted to fit the film score (instead of an existing recording being pasted over the movie). Some scores that I like that did that very well are: Alan Parker's JAWS 3-D with several tracks inspired by Stravinsky's Rite Of Spring James Horner short but very effective use of Prokofiev's Romeo And Juliet for the destruction of the Enterprise in Trek III John Williams' Main Title to A.I. inspired by Gayane's Ballet Adagio (which was also very effective in Horner's Aliens where it is more "note for note" quoted). The adapting of Night On Bald Mountain in Brian May's Freddy's Dead are also the best parts of that score, as I love that piece.
  3. Ok movie (3 stars) more fun and less pretentious than ID4. Fantastic score (Arnold’s best IMO) - 5 stars! The promo album was great but missed one of my favorite tracks: the submarine pursuit. Such an exciting track. It is great to have it in the complete score release. If I want a great sampler of the score I listen to the album, if I have the time (long car trip) I go with the complete score and on occasion I put only the submarine track and listen to it at a high volume.
  4. I did a 2 hour Spotify playlist focusing mainly on the concert arrangements. Some difficulties to prepare it as not all the albuns are available in Spotify (Force Awakens is not, so I had to use tracks from a compilation). Here's the link: https://open.spotify.com/playlist/2FPslwPXOBcHNglKgwlBSn?si=ud4tfx7-RL-nqx8r0UYJOA
  5. I used to organize my all my soundtracks alphabetically, with the composers mixed. This was good for franchises that had multiple composers like the James Bond and Star Trek series (and within the franchises chronologically by film release date). Then, when my collection got larger, I decided to organize it by alphabetically by the first name of the composer (so Williams is at "J"ohn Williams and not at "W"illiams) and then alphabetically by movie title within each composer and compilations at the end. Then, when my collection got even larger and my living room shelf could not display everything, I had to transfer part of it to a closet. I made a selection of my "preferred titles" and then placed the rest of the collection in the closet (still organized alphabetically by composer and alphabetically within the composer both in the shelf and in the closet). Therefore, for titles having multiple releases only the "best" (my preferred) release is displayed in my living room shelf (usually the C&C version with a few exceptions like Troy on which I prefer the original album to the extended release or the Aristas' Star Wars that I prefer to the 2CD releases of Empire and Jedi [due to the sound quality]), other releases of the same title that I kept (if there is something I found worth keeping it - like original album not reproduced in the expanded edition or different mix) are organized within the closet. My current problem is that the closet is now also full). John Williams CDs alphabetically in the shelf: John Williams CDs alphabetically in the closet: All my CDs are dowloaded to iTunes (I used to do it in the AAC 320 kbps format, now I'm doing it in Apple Losseless format at a 4TB drive - but a large part of the collection still remain at 320 kbps format).
  6. My choice would be "other", namely Christopher Young. Other interesting but also unlikely choices would be Trevor Jones or David Arnold. On the more likely options I'd go with Powell over Giacchino, but if Giacchino is chosen I hope he has time to properly work on the score instead of having to provide a last minute replacement.
  7. Similar to what happened to Decca's JAWS track "The Great Shark Chase" - the insert written to replace the beggining of the track was included as the track openning before the entire original cue. Intrada rectified this with the proper edited film version (which apparent was Williams preferred version, as he used that version of the start of the track in his rerecorded album) and including the original version in the bonus section.
  8. In fact Sony's 2016 release from the original vinyl masters were released physically... on 180-gram vinyl (very physicall taking into account the size and weight of the collection). But not on CD. It is a gorgeous package that faithfully reproduces the original LPs (including the "booklets" and inserts of the original LPs for Star Wars [with the fold out poster and an "order form" for official Star Wars T-Shirts - with a small notice "This is a replica. Offer no longer available"], The Empire Strikes Back and Return Of The Jedi) and the center labels of the LPs from 20th Century Fox for Star Wars and RSO for Empire and Jedi. It is really unfortunate that those masters were not used also for CD releases at that time. I hope that when the definitive "MM" version of the complete scores are released they also include the albums (with their unique mixes and takes, like Jedi's "The Emperor" which includes a kind of a wind effect missing in all subsequent releases).
  9. Jaws must be mentioned. The previous MCA anniversary edition was unlistenable due to its muffled sound. The Intrada Matessino 2.015 remaster really rescued this score. Psycho II was a grail and the expanded is so much better with all the wonderful tracks that were left off the 30 min. album.
  10. Based on all the passionate praise Williams repeatedly gives Daisy Ridley on his interviews, it is fair to assume he must have refused to provide a love theme for her with another man.
  11. I was wondering why it was sounding like a Giacchino piece to me. Now you identified why. Both beautiful pieces of music. "The master becomes the apprentice and the apprentice becomes the master."
  12. With the reviews released it is at this moment the 2nd lowest rated movie of the franchise (after Phantom Menace). Mixed reviews but consensus seems to be it played too safe to try to please the fans that were enraged by TLJ. But on these polarized times I’d not be surprised if some online petitions will soon ask Disney to disregard the film and to hire Johnson to do a “true sequel” to TLJ...🙄
  13. The Throne Room/End Title (Throne Room is hard to suprass with that bold version of the force theme) The Rebel Fleet/End Title (great themes and great transitions) Jedi Steps / Finale A New Hope and End Credits Confrontation with Count Dooku and Finale Augie's Great Municipal Band and End Credits (cut and paste started here, not impressed with Augie’s Band with an awkward transition to the end credits, nor by the full reprise of Duel of the Fates, but Anakin’s theme and the somber ending compensates) Yub Nub/End Title Finale (TLJ) Finale (TROS) good score but very disappointing finale. Another ending with the force theme, jarring transitions, cut and paste all over the place.
  14. The Fury should be included: 1 - Close Encounters (great sound and presentation) 2- Superman 3 - JP set 4 - HP set 5 - The Fury (huge sound improvement made the film tracks listenable) 6 - A.I. 7 - E.T. 8 - 1941 9 - Minority Report 10 - Empire of the Sun 11 - Hook (still waiting for the ‘perfect’ edition if complete original tapes are found) 12 - Home Alone 13 - Rosewood 14 - Schindler's 15 - Saving Private Ryan 16 - Home Alone 2
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