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About danbeck

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  1. From the Prometheus liner notes by Dan Goldwasser: "The original album release of Farewell To The King ran aproximately 44 minutes long, but has been out of print for many years. Poledouris said that he wasn't sure why some pieces of the score were not included on the previous release, but also made it clear that some material was never intended to be on the album. "There's a reason why composers burned music - they didn't want anybody to hear it! Unfortunately we can't do that with some of the masters." Nevertheless, the music on the album as presented to listeners adds about ten
  2. That would be great indeed. Even better if he created an entended concert piece of the treme. But what I do hope is that following the film all scores are finally released complete.
  3. I remember reading somewhere that it was Erich Kunzel who first included the t-Rex ending on his recording of the theme and that John Williams liked it and adopted it for his concert versions. I prefer the original album version with the theme ending quietly on piano/harp. For me the transition to the T-Rex finale is always jarring, do not work.
  4. Good score by Trevor Jones and Portrait of a Prince is the best track:
  5. It is the Adagio from "Gayaneh Ballet" by Aram Khatchaturian (that was used by Kubrick in "2001")
  6. I have my iTunes library at an external HD and have been transferring my CDs in the Apple Lossless format. My HD Tracks digital purchases are also on that same external HD as Flac files and also transferred to iTunes converted to Apple Lossless. I uploaded my library to Apple Music to listen to on my phone - but it is not lossless (except on certain titles that Apple Music streams as Lossless or hi-res / Dolby Atmos), so it is not the ideal backup. For proper backup of the lossless transfers of my CDs I’m intending to buy another external HD.
  7. Jaws 3-D Jaws The Revenge The Fly II Psycho II Psycho III Star Trek II, III, VI Mad Max Beyond Thunderdome Live And Let Die, License To Kill Pet Sematary II Child’s Play 2 Superman IV
  8. Raiders is for sure the best, but it scared me too much when I saw it as a 7 year old in theaters. ToD was a favorite, I watched it 2 times in theaters and many more on VHS, DVD, Blu Ray... I loved it so much as a 10 year old that it made me buy my first soundtrack LP ever in 1984 and a beautifull photo-story magazine that I regret to this day to have lost. LC is great but I didn't liked at the time Spielberg and Ford interviews kind of "apologizing" for ToD (which I had loved so much). I find the plot with nazis too much on the safe side to repeat Raiders, but the Con
  9. Intersting, just listened to the Mike Matessino talk on Legacy of JW about the new releases of Images and Always and Tim Burden mentions that the 1991 recording for the Spielberg/Williams Collaboration vol.1 with the Boston Pops is Williams personal favorite recording of Close Encounters.
  10. Except for the Cars sequels I loved every Pixar movie but the more recent ones (Onward, Luca and even Soul) were dissapointing to me. Soul seemed a bit underdeveloped on the potential of its plot. Luca focused on childhood nostalgia but seemed a bit forced IMO, the humor was a bit on weak side and the plot failed to engage. The last great Pixar movie for me was Coco although Toy Story 4 and Incredibles II are pretty good also.
  11. I like the score for Aliens, but it is a bit too derivative for me - the Gayaneh Ballet Adagio, the danger motiv, the re-use of the Klingon music from Trek III) - but it works. Favorite tracks include "Going After Newt", "Bishop's Countdown" and the previously unrelased "Face-Huggers" and "Queen To Bishop"). Alien is much more "original", perfect on creating mood. Love the original main title theme, the alien planet music (the rescored main title), The Landing clue and all the "action" music for the finale of the film. So I vote for Alien.
  12. I wasn’t impressed with both the film and the score. The film seemed too much a “by the numbers Pixar” and the score unmemorable. The only scene where it soared was when Luca was flying with the girl but even there the theme was not memorable enough. I’ll check the score apart from the movie to pay attention to the Alberto theme. PS.: I checked your podcast “Papo de Trilha” and really enjoyed it.
  13. But is it confirmed that the source for this is the original album master tapes? I’m sure MM will do the best job possible with whatever element he has, but the press release is bit vague on the source (“stereo element”).
  14. On Poltergeist, I prefer the C&C presentation and I like all tracks. But some highlights are "Night Visitor" and all the music for the finale of the film "Lets Get Her/Rebirth" (the Rebirth part reminding a bit his music for Star Trek), "Night Of The Beast" (album version of this track cuts all the quiet bits and makes for an incredible intense track) and "Escape From Suburbia" (which includes the dies irae). On Poltergeist II some highlights are "The Power" (main titles introducing the new themes for Taylor and for the power), "Late Call" (with the theme for the grandmoth
  15. I think the first Omen is a good movie. It is my kind of horror film, with its slow pace and lots of atmosphere (thanks to Donner and Director of Photography Gilbert Taylor shooting it in a "realistic" way and Goldsmith's score) and tension rising till its tragic end. It also makes us care about the main couple. The score is the perfect horror score for me, specially due to its creepy suspense pieces using high strings and pianos (something that the sequels lacked). I also love the family theme. Poltergeist is other kind of horror I also love. Very fun but still effective in its s
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