Crowe T Robot

I just listened to the three Gerhardt recordings this week, since it'd been awhile and I appreciate the fact that they're a great way to enjoy music from the original trilogy in a condensed format. I mean, who always has time to listen to 2-disc editions? The Gerhardt ROTJ has always been a favorite, but I agree that there were odd choices, such as "Heroic Ewok" and the film version of "The Ewok Battle". I always found it strange that there were no versions of the Emperor's theme, but it seems to me that this was orchestrated for choir, it would have meant hiring choral members for the NPO performance. That might not have been financial feasible, so instead of performing ROTJ cues based around The Emperor without choir, the decision was made to just not include them. Same for any duel cues. I also was very happy with the Kojian/Utah Symphony recordings, since it included "Fight with TIE Fighters" and "Darth Vader's Death". Back in the day (the 80's), it was amazing to own these records and have that music at all, since they weren't included on the official soundtrack album. I always thought that since the Polydor Records didn't allow for a 2-LP set, Williams decided to farm out for re-recordings the cues he would have included if he had been allowed a double album set. In terms of his preference for combining short cues into longer suites, he might have even combined "Into The Trap" with "Fight In The Dungeon", as it was presented by Gerhardt.

I didn't know that, but not to brag, I bet mine are alot better. Befroe the year is out I will make about 500 cheese or meat wontons. Joe, who must plan his Christmas Parties in September. Music selection is easy, I have 4 John Williams cd that are perfect for Christmas. I am looking forward to playing Joy to the World and We Wish You a Merry Christmas. I resisted playing any Christmas music in July, so I will be especially ready.

Top 5 Horner: 1. KRULL 2. STAR TREK II/III 3. FIELD OF DREAMS 4. THE LAND BEFORE TIME 5. THE ROCKETEER

If I am remembering correctly from my music classes, that is a basic arpeggiation of the dominant key of the piece, a standard of classical composing styles. Feel free to dispute this, but I'm almost sure that is the correct description...

Hey, I always say "Bring in da funk"! I love the 70's funk stylings used by composers Lalo Schifrin, Roy Budd, Quincy Jones, and David Shire. It's eternally cool.

Unless he means some of the shorter TV spots, which use the bombastic end of the cue "On the Conveyer Belt" from the AOTC CD.

Just by watching the opening of Temple of Doom gives me assurance that his musical would be a winner!

I gotta agree with IndySolo on his points as well. For Your Eyes Only can be an acquired taste since it is m ore of its time (1981) than say Barry' score for Octopussy just two years later. I always liked Conti's FYEO score since I saw the film as a kid so there was no adjustment period but I can see why it might give some film score fans the willies. Same goes for Live and Let Die since it draws upon the fukn/R&B stylings of early 70's scores. Again, saw the film as a kid, never thought about it being odd, just always thought it was a cool Bond score (especially the title tune!), but some listeners cannot stand the dated funk stylings.

Well, Harry, this is a topic I consider myself to be an expert on, seeing as how I love all the Bond scores and films. Barry's scores are really the cream of the cop when it comes to Bond; no one tops his approach and his style to the series. My top 5 Bond scores would be On Her Majesty's Secret Service, Moonraker, Living Daylights, Diamonds Are Forever and Goldfinger. These are one I consider essential but all the scores have some merit. One of the main drawbacks is that some of the scores are not well represented on disc. Thunderball is another fantastic Barry score, but the official album does not include the incredible final battle cues. Those cues showed up on the 2-CD 30th anniversary set and are well worth seeking out.