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Naïve Old Fart

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Everything posted by Naïve Old Fart

  1. I'm not sure if you mean this, Wojo, but your statement seems to be without irony, so, in that case: what is it about "F+A" that excites you, when other JW scores do not?
  2. Great post, dude, so do I! The idea for the beginning of the Lazenby "Diamonds Are Forever" sounds rather good.
  3. Yes, I've seen that box on Amazon AT/DE, and I think at UK as well. The only two Queen albums I have as original CDs are A Night at the Opera and News of the World, so if these remasters are good, I intend to get the whole set. I hate to confuse the issue, Marian, but do you mean the original mid-80s releases, the 1994 remasters, or the 2001 Japanese remasters, which were in mini-vinyl replica sleeves? If you want to "check out" the quality of the 2011 remasters, then listen to either "Greatest Hits", or "Greatest Hits II" (don't, for the love of all that you hold dear, go anywhere "Greatest Hits III"!) as these have also been released.
  4. Well, the second selection is "Alpha", and the third selection is "Heaven And Hell Pt. 1", but I'm sure that you already this, Marian. I'm working on the first selection; give me time...
  5. YEEEEEEEEEEEESSSSSS!!!!!! And what about The Red Violin? I assumed that, as the thread suggests, Sixers knew only "Altered States", and so I didn't want to confuse the issue by adding more titles. You are right, of course, "The Red Violin" is damn good, as is "Revolution".
  6. I've not heard them, yet, Marian, but if they sound anything like the "ANATO" 2005 30th. anniversary remaster, then I look forward to them. Be warned: the UK only has the single discs of the first five, but wait for the 2-disc releases, with lots of extras. I've also heard that there is a "first-five 2-disc box", with spaces for the rest of them. I will buy them as a matter of course.
  7. "Rob Roy" is a good score, and I like his work with the Cohen brothers. Is "Psycho III" available?
  8. According to Wiki, us lot in Blighty don't get to see "War Horse" until January 13th. next year.
  9. One of the reasons that the stardate was included in the "Grissom arrives at Genesis" scene, was that it was meant to be the first scene in the film. Is the "David and Saavik look for Spock in a storm" scene available anywhere (it features the cut music from "Stealimg The Enterprise")? What about the David/Saavik romance?
  10. It was never established precisely when Earth moved from the Gregorial calendar to the Stardate system, nor is it ever established it's basis. It has been suggested that it is based on the regular flash of a Pulsar somewhere. By having a fixed stellar object as it's basis, then the ship's computer can periodically locate and adjust it's onboard clock to compensate for relitivistic distortions. The on-screen title card was not for the characters on screen, but to explain to the audience the timeframe the movie is set. Old terms are still known, days are still days, and we hear plenty of references to years, weeks etc. Many aspects of these things are intentionally left vague. Thanks for that, Mr. Buck. I have been doing a little net search on the same subject, and it would appear that there are several errors concerning the chronology of stardates among the writers. Apparently Roddenberry himself told them not to worry about temparal continuity, too much. Also, wasn't the card at the start of "Star Trek: II" put there so as not to confuse the producer's mother? Or something...
  11. Yeah, you did; Comic Relief. Don't worry, Pixie, I'm sure that it'll be all over the net, by now. P.s., it was nowhere as good as "Timecrash".
  12. 18/3/2001 7:24pm A plot device knicked from "Logopolis", a tasteless "joke" about Amy's minge, and it's all "to be continued". That's 5 minutes of my life that I'll never get back. 18/3/2001 7:35pm. Whoops! Spoke too soon. More jokes about a threesome, and it's back on April 23rd! Nifty title for the first episode: "The Impossible Astronaut".
  13. The soprano has a lovely voice. Do you know her name? I always thought this is a boy soprano... But it might be just me. Speaking of which, I kind of hoped this vocal part would be a hint of ROTS music, where we would have a solo vocalist for the lament parts. That would be more distinctive. Karol I never thought of "her" as a "him", Croc, but, listening to it again...you could well be right.
  14. Because, like it or not, Kelsey Grammer is not a sex-symbol.
  15. Stick with it, Joey. "THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES or How I Flew From London To Paris In 25 Hours and 11 Minutes" is one of Ron Goodwin's very best.
  16. Jason, I thank you for this. I was never aware that such a piece of music existed, so it's great to hear the finale as it was originally intended. I understand why GL wanted the Imperial March, but this makes the penultimate scene so much more epic, and so much more sad. It seems to convey Senator Organa's expression of inevtibility, and hopelessness at the whole tragic situaton, even marking the hitting of his fist on a wall. This is one alteration to "EP.II", that I would welcome. P.s., I far prefer the alternate "Binary Sunset" to what was heard in the film, but I understand why it was changed.
  17. I'm not sure if it has ready been asked, but I have a question about how time is measured in Star Trek. When did "normal" time (2245, 2246, etc.) become stardate, and why (see next question)? If - as I suspect - stardate is meant to be a universal constant, then how does it take into account FLT travel? Also, if stardate is the accepted measurement of time, then how come there that time is stil measured in centuries (the first thing in "ST: II" that we see, is a card saying "In the 23rd, Century...")? If there are no days, then how can there be centuries? It's just a thought, but I'd kinda like to get my head 'round this.
  18. He was also the irate landlord that got killed by the Nazi, in "The Boys From Brazil", and he was in a very good early 1970s BBC science fiction show called "Moonbase 3". RIP, Mr. Gough, my favourite Alfred. Although we never got to see it, I'm sure that "The Nightmare Fair" would have rocked.
  19. If they would play the music of Artemyev's Solyaris in elevators, nobody would be taking them. Isn't that a 50/50 blend of orchestra and synths? Pretty much, yes, although in the CD booklet notes, Carlos says that - and I'm paraphrasing, here - it's 100% of both. One way of looking at it, I s'ppose. As for the Artemyev score; I like it a lot; he is after all the John williams (oh, all right, then, the Hans Zimmer) of Russian film scores. Not outside the Gabriel work, no. I'd like to know more, though. You're right that I'm an electronic music junkie, and not only film scores. In fact, that's how I became interested in soundtracks in the first place - through instrumental electronic music by the likes of Jarre, Vangelis, TD, Kraftwerk and other pioneers. I'm also very much into harder, more contemporary stuff - especially in the house category and goa/psytrance (Oakenfold, Juno Reactor, Infected Mushroom, Sphongle, Daft Punk, Underworld...you name it). So much great stuff out there! Over the last two years or so, I've very much returned to my synth roots, but now for calmer, soothing, ambient textures like CRASH, IN THE VALLEY OF ELAH, SOLARIS, MOON, BREAKING & ENTERING, THE SAINT OF FORT WASHINGTON, THE LOVELY BONES, THE NEXT THREE DAYS and so on. A very nice collection of "ambient" scores, to be going on with, Thor. I totally forgot "TSOFW"! An early JNH, and one of his very best! Is it stretching a point to include "Grand Canyon" in your list? Apart from the Copeland-esque end title, it's quite ambient, and modern. I'd like to add "Dune" to the list, but I suspect it's too orchestral. You mention Krautrock. Are you into Neu, Can, Holger Czukay, and the like? There's a Dutch band called "Alquin", that is good. At the moment, and in an ambient vane, I'm into "Young Country", "Susannah And Magical Orchestra", "Hot Chip" "Bonobos", "Portico Quartet", and "Fourtet". Regarding Mr. Fast; all his works are available through his web site. You may, or may not like him, but it is easy to trace the history of electronic music through his CDs. He starts out with a Moog, a Mellotron, and an Oberheim. Later, he adds stuff like Juno, Jupiter, and Arp, then goes on to Synclavier, and Prophet 5, winding up with Akai, and full MIDI. It's worth a listen, at least.
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