Soundtracks, Compilations, or other recently purchased Music

[indy4 155]

To be fair, when much of this music was written there was no such thing as liner notes.

Take this into consideration. An orchestra in London has a poster out, circa 1700s.

May 11

Bach - Brandenburg Concerto No.5

Haydn - "Surprise"

What are people supposed to make of this? They know that the Bach piece will be a concerto. But what is this Haydn piece called "Surprise"? This means nothing to them. So they buy their tickets, go in, and are treated to a symphony. They had no idea what this work was going to be - maybe they have no idea who Haydn even is!

A title like Symphony No. 94 in G Major tells the audience much more.

#1. It's a symphony.

#2. It's Haydn's 94th. People who have never heard of Haydn can at least tell that he has written a lot of music and thus must have some skill, to have written 94 already!

#3. It's in G Major - this tells the audience what kind of "mood" the piece may have, to put it generally.

Like I said, my point is not that it wasn't once a good system, but that it is outdated nowadays. I agree that back when a lot of this stuff was being written that was the most effective way to communicate information about the piece.

Something like an opus number is assigned for publishers to keep catalog on the works of a composer.

There's still no reason why it has to be in the title of the piece.

[Henry B 50]

C'mon, you're going to get some repeats every once in a while no matter what. If I say "Fantasia in G," how do you know if I'm talking about Mahr's or Bach's? This is easily remedied by tagging the composer's name onto it--Bach's "Fantasia in G" or Tchaikovsky's "Pathetique." Or, Tchaikovsky's "Symphony No. 6."

I have twenty-five tracks in iTunes titled "Finale." They're all film or Broadway music. Do we need a new system to label this stuff too?

Again, I'm not against using technical terms to label something (ie Tchaikovsky's "Symphony No. 6"). I take issue when composers try to describe a piece by cramming as many descriptive words into the title as they can, when less than half of them are necessary to sufficiently reference the piece.

Except, as Marian has said several times, tempo indications are not part of the title. They are necessary instructions for the performers. It's not the fault of long dead composers that iTunes puts tempo indications in track titles.

[indy4 155]

C'mon, you're going to get some repeats every once in a while no matter what. If I say "Fantasia in G," how do you know if I'm talking about Mahr's or Bach's? This is easily remedied by tagging the composer's name onto it--Bach's "Fantasia in G" or Tchaikovsky's "Pathetique." Or, Tchaikovsky's "Symphony No. 6."

I have twenty-five tracks in iTunes titled "Finale." They're all film or Broadway music. Do we need a new system to label this stuff too?

No! I said that no matter what system you use you are going to get repeats. My beef is not that you're going to get a few repeats - as I said, you can just tag the composer's name onto the track to distinguish. My beef is that the names are too complicated so that their purpose of labeling a cue so people can communicate ideas about it is defeated.

Again, I'm not against using technical terms to label something (ie Tchaikovsky's "Symphony No. 6"). I take issue when composers try to describe a piece by cramming as many descriptive words into the title as they can, when less than half of them are necessary to sufficiently reference the piece.

Except, as Marian has said several times, tempo indications are not part of the title. They are necessary instructions for the performers. It's not the fault of long dead composers that iTunes puts tempo indications in track titles.

Okay...? I don't care if the composer added them, or his publisher, or some random nobody on iTunes--my point is that I dislike those additions. I've said this before when I addressed Marian's point. At this point it a semantics argument.

[Henry B 50]

Well, you just said you "take issue when composers try to describe a piece..." So there you are: It's not the composers' faults. Anyway, as a musician and a music student I'm biased, but I welcome any additional information like that when I'm sorting through files, YouTube videos, etc.

[Datameister 2,041]

Just to throw my two cents in...for me, the title of a musical piece serves exactly one purpose: to provide a way for people to easily know whether or not they're talking about the same piece. I don't really need the title to explain the tempo, style, and so forth of a piece for me; the only criterion I care about is how easy it is for me to remember the title and connect it to the memory of the piece. The types of classical music titles y'all are talking about don't do a good job in that department at all, so I tend to be frustrated by them. That simple.

[indy4 155]

Well, you just said you "take issue when composers try to describe a piece..." So there you are: It's not the composers' faults. Anyway, as a musician and a music student I'm biased, but I welcome any additional information like that when I'm sorting through files, YouTube videos, etc.

Yeah, but the reason I was taking issue with it was because of the end result of me being unable to easily reference pieces or remember titles. Obviously it doesn't matter who makes the decision to use the functional system, because whether the composer or some guy on iTunes makes it, the same end will result (the title will be clunky).

Just to throw my two cents in...for me, the title of a musical piece serves exactly one purpose: to provide a way for people to easily know whether or not they're talking about the same piece. I don't really need the title to explain the tempo, style, and so forth of a piece for me; the only criterion I care about is how easy it is for me to remember the title and connect it to the memory of the piece. The types of classical music titles y'all are talking about don't do a good job in that department at all, so I tend to be frustrated by them. That simple.

Nicely said.

[Marian Schedenig 8,191]

Why does the title/reference need to be the one to inform listeners of "exactly what they're getting?"

Because that's how we get interested in stuff.

"James Newton Howard is working on a new piece called Cow." - Oookay?

"James Newton Howard is working on a new symphony." - Cool, he's writing a big symphonic work for orchestra!

"James Newton Howard is working on the score for XY's film Cow." - Cool, I like his film scores, this might be good, too.

(I was going to use Williams as an example, but I realised that most of us here would be jumping with glee even if it was announced that "John Williams is working on a new piece called Fart)

I'm not talking exclusively about popular music, I'm talking about any type of music that isn't classical.

Assuming you're not strictly complaining about music between 1730 and 1820, "popular music" is the general label for music that's not "classical music".

Again, I'm not against using technical terms to label something (ie Tchaikovsky's "Symphony No. 6"). I take issue when composers try to describe a piece by cramming as many descriptive words into the title as they can, when less than half of them are necessary to sufficiently reference the piece.

They don't. They usually called it "Symphony". Nothing more.

[indy4 155]

Why does the title/reference need to be the one to inform listeners of "exactly what they're getting?"

Because that's how we get interested in stuff.

"James Newton Howard is working on a new piece called Cow." - Oookay?

"James Newton Howard is working on a new symphony." - Cool, he's writing a big symphonic work for orchestra!

"James Newton Howard is working on the score for XY's film Cow." - Cool, I like his film scores, this might be good, too.

(I was going to use Williams as an example, but I realised that most of us here would be jumping with glee even if it was announced that "John Williams is working on a new piece called Fart)

But the piece itself is still called Cow. I'm not saying the information shouldn't be available to the public, I'm saying that there's no need to cram it all into the title.

I'm not talking exclusively about popular music, I'm talking about any type of music that isn't classical.

Assuming you're not strictly complaining about music between 1730 and 1820, "popular music" is the general label for music that's not "classical music".

You said "most of the time a piece of popular music has lyrics and is a song." That's just not true.

Again, I'm not against using technical terms to label something (ie Tchaikovsky's "Symphony No. 6"). I take issue when composers try to describe a piece by cramming as many descriptive words into the title as they can, when less than half of them are necessary to sufficiently reference the piece.

They don't. They usually called it "Symphony". Nothing more.

You can bring this point up as many times as you want, but my response will always be the same: I am against the instances where the elaborate overlong titles are used. I don't care if that's an official title or not, my point is that they are used more than sometimes, and that's annoying.

[Marian Schedenig 8,191]

Okay...? I don't care if the composer added them, or his publisher, or some random nobody on iTunes--my point is that I dislike those additions. I've said this before when I addressed Marian's point. At this point it a semantics argument.

Rename them, then.

Should they only put strictly the title of a work on the CD? "Ludwig van Beethoven - Symphony". Not very informative. Nyman has a habit of having the movements of his works labelled using Roman numbers on his albums. Here's the track listing of his 4th string quartet:

I

II

III

IV

V

VI

VII

VIII

IX

X

XI

XII

That better than "adagio"? "Hey, I love the slow movement from that work" - "Which one is it?" - "Erm... IV? V? VI?"

Should composers come up with random names for their works, just so people have something to cling to? Instead of Symphony No. 1 to No. 4, should we call the works "Brahms - Hans", "Brahms - Franz", "Brahms - Hinz" and "Brahms - Kunz"? And the movements need names, too, so we can distinguish them: "Brahms - Hans, Alfred", "Brahms - Hans, Fritz", "Brahms - Hans, Friedrich", "Brahms - Hans, Ludwig". Or should he have called it "Almond Tree"? More memorable, but why "Almond Tree", when the music doesn't have anything to do with it?

Yeah, but the reason I was taking issue with it was because of the end result of me being unable to easily reference pieces or remember titles. Obviously it doesn't matter who makes the decision to use the functional system, because whether the composer or some guy on iTunes makes it, the same end will result (the title will be clunky).

Across the Stars (Love Theme From Attack of the Clones). A clunky title, truly. They tagged the "Love Theme" bit on it so that people would know what it is - because the general public might just endorse the love theme they heard in that big movie, but nobody would care for something called Across the Stars by some guy called John Williams. And I never understood where the title Across the Stars came from, anyway. What does it mean? Why is it so cheesy? It's handy, but it's an ugly title, and in this case, there even was a story to name it after, unlike with most concert works.

I'm kinda sorry for turning this into such a heated discussion, but I'm kinda not. Because relabelling symphonies with random hip names just so people have something to remember them by is simply... absurd.

You can bring this point up as many times as you want, but my response will always be the same: I am against the instances where the elaborate overlong titles are used. I don't care if that's an official title or not, my point is that they are used more than sometimes, and that's annoying.

Alfred Newman: The Empire Strikes Back - Twentieth Century Fox Fanfare with CinemaScope Extension (1954)

John Williams: The Empire Strikes Back - Main Title/The Imperial Probe (extended version)*

(And that's using the shortened title for what actually should be "Star Wars: Episode V - The Empire Strikes Back")

[Jacob 0]

I'm kinda sorry for turning this into such a heated discussion, but I'm kinda not.

[Gruesome Son of a Bitch 6,488]

The AOTC love theme was never labeled Across the Stars around here.

[indy4 155]

Okay...? I don't care if the composer added them, or his publisher, or some random nobody on iTunes--my point is that I dislike those additions. I've said this before when I addressed Marian's point. At this point it a semantics argument.

Rename them, then.

Should they only put strictly the title of a work on the CD? "Ludwig van Beethoven - Symphony". Not very informative. Nyman has a habit of having the movements of his works labelled using Roman numbers on his albums. Here's the track listing of his 4th string quartet:

I

II

III

IV

V

VI

VII

VIII

IX

X

XI

XII

That better than "adagio"? "Hey, I love the slow movement from that work" - "Which one is it?" - "Erm... IV? V? VI?"

As I've said, that type of information can be more practically located in liner notes, online, etc. So if someone really wants only to listen to the slow movement, they can easily figure out what movement they're talking about. Or you could just memorize them - I don't know the names of the three movements of "First Suite in E Flat," but I know them by number. Or you could name each of the movements. It works for film scores--I can remember that Amistad's "The Liberation Of Lomboko" is the cue that contains the reprise of "Dry Your Tears Afrika" (and don't say it's because I remembered the music from the scene, because I've never seen Amistad). Or Jazz - I remember that "Sir John" starts with a trumpet solo that plays on upbeats a lot, even though nothing about the music reminds me of a knight named John.

Should composers come up with random names for their works, just so people have something to cling to? Instead of Symphony No. 1 to No. 4, should we call the works "Brahms - Hans", "Brahms - Franz", "Brahms - Hinz" and "Brahms - Kunz"? And the movements need names, too, so we can distinguish them: "Brahms - Hans, Alfred", "Brahms - Hans, Fritz", "Brahms - Hans, Friedrich", "Brahms - Hans, Ludwig". Or should he have called it "Almond Tree"? More memorable, but why "Almond Tree", when the music doesn't have anything to do with it?

For the hundreth time, I'm not against naming something with a number - I don't have a problem memorizing Mahler's 3rd Symphony. My problem is with overlong titles like "Concerto in B minor for Cello and Orchestra, Op. 104 III. Finale. Allegro moderato."

You can bring this point up as many times as you want, but my response will always be the same: I am against the instances where the elaborate overlong titles are used. I don't care if that's an official title or not, my point is that they are used more than sometimes, and that's annoying.

Alfred Newman: The Empire Strikes Back - Twentieth Century Fox Fanfare with CinemaScope Extension (1954)

John Williams: The Empire Strikes Back - Main Title/The Imperial Probe (extended version)*

(And that's using the shortened title for what actually should be "Star Wars: Episode V - The Empire Strikes Back")

Do you really label things like that? My Fox Fanfare is labeled as "Fox Fanfare"...that's it. Under the album I have ESB, under the artist I have Alfred Newman. I don't also need to include that in the title. I understand the parentheses, but that's because you could potentially have two tracks of the same title by the same artist. In classical, I don't see any one artist making two pieces with the same title ever, because there's always a different Symphony Number, or a different abstract title, etc...

Marian, I think we'll have to agree to disagree. This argument has become incredibly unorganized and muddled. I think that, whether it was my fault or yours, we don't entirely understand what the other person is advocating. And honestly I don't care enough to put in the effort to get things straight.

[Marian Schedenig 8,191]

For the hundreth time, I'm not against naming something with a number - I don't have a problem memorizing Mahler's 3rd Symphony. My problem is with overlong titles like "Concerto in B minor for Cello and Orchestra, Op. 104 III. Finale. Allegro moderato."

But that's the point. The title is nothing other than Symphony. Usually labelled Symphony No. 3 to distinguish it from the others. Sometimes (not always) appending the key, because back when people still understood about keys (I admit I don't), that actually told you more about the characteristics and mood of a piece than any title could have. And since a cello concerto has three parts, you'll need to somehow label the three movements differently (like cues in a film score).

Alfred Newman: The Empire Strikes Back - Twentieth Century Fox Fanfare with CinemaScope Extension (1954)

Do you really label things like that? My Fox Fanfare is labeled as "Fox Fanfare"...that's it.

Sure. Although in this case, it's made slightly more difficult by the fact that I've labeled the anthology as one album. So when the track title would usually start with Twentieth..., I actually had to include the score title in the track names here as well. The "with CinemaScope Extension" bit is of course an unusually lengthy suffix. But still, that's how I label it, because that's what it's called and how it's distinguished from e.g. the shorter version without the CinemaScope bit. And to be nitpicky: The title never was "Fox Fanfare".

But yes, this has been going on way too long.

[indy4 155]

Also, The Last Airbender arrived!

[Gruesome Son of a Bitch 6,488]

John Goldfarb

Jericho/The Ghostbreaker

Ghostbreaker is cool. Reminds me of Family Plot. Love that harpsichord.

[Koray Savas 2,251]

Volume One - She & Him

Volume Two - She & Him

[Trent B 337]

Got my copy of The Edge from Movie Music today in the mail. Looking forward to listening to that one.

[Marian Schedenig 8,191]

Volume One - She & Him

Volume Two - She & Him

When I saw your new avatar and your last.fm list, I was wondering if they had a new album. Must check this out.

[Koray Savas 2,251]

I just saw them in concert last night. Volume Two has been out for a few months, I just never got around to buying it. I also never officially got Volume One, so I grabbed both at a Best Buy before I drove out to Philadelphia.

The concert was amazing, simply sublime. Unfortunately they wouldn't let me bring my camera in because "it has a detachable lens." Don't understand that. My friend had his own pocket size camera, but it's a POS and took awful photos. It was an outdoor venue right on the water. Really great location. Around 50 people waited outside the tour bus after the show, which I happened to park right next to before the show. A majority quickly vanished, and the point came when there were less than 10 of us waiting. Zooey Deschanel and M. Ward never came out, but a couple of the other band members came and went from the bus. One of the guitarists gave us plums and pistachios It was highly disappointing that they didn't pop out for 10 minutes for a few fans, since we were waiting for 2 hours. The bus driver, as he was opening the gates of the lot to leave, told me they were sleeping. Understandable, but I seriously doubt they were asleep for those 2 full hours.

They have a couple shows in NY and then they're playing at the 9:30 Club in DC. I'm going to try and get tickets and see them again.

[Marian Schedenig 8,191]

Nice. I also still need to get Vol. 1 "officially".

[arathornion33 0]

Gregson Williams

The Chronicles of Narnia: The Lion, the Witch and the Wardrobe

James Newton Howard

Unbreakable

The Sixth Sense

The Happening

I Am Legend

Williams

Jaws (Anniversary Edition)

Other

Casablanca: Bogart Film Scores/Classic Film Scores Collection

[Richard Penna 3,684]

Ordered some folk CDs for my mum for her birthday, so I ordered Streitenfeld's Robin Hood along with them since it's not available digitally (I refuse to shop at itunes). The score has massively grown on me, even if I don't think the themes are quite sliced bread quality.

[Andy 4,119]

Picked up Wargames before it sells out (Doug at Intrada announced they're down to 150 copies). I threw Robocop 2 into the cart for an extra $5.

[Koray Savas 2,251]

After really really getting into She & Him these past few weeks, I've decided to check out M. Ward's solo work and ordered Hold Time and Transfiguration Of Vincent. Based on the sample, his cover of Bowie's "Let's Dance" sounds nothing short of brilliant. He seems to be a nice mix of Dylan and Waits.

Also, since I posted my concert experience in here, I'll just continue with it. I know we had a concert thread somewhere, but couldn't find it through the search engine. I followed up the Philly concert by going into DC for their show at the 9:30 Club. Tickets sold out in 10 minutes, and second hand prices were a little too much than I preferred to spend, so a few friends and I hung around the the area until after the show. We waited outside their tour bus again, but alas we only achieved mild success. M. Ward left quickly in a car while everyone waited outside the bus, and Zooey Deschanel hopped in and never came out. I guess it's just not her thing, despite there being less than 20 people, and even less than 10 after 40 minutes. We did, however, talk to Mike Coykendall again. He was the one who gave us pistachios and plums at the Philly concert. A really nice and interesting guy. Got him to sign my Volume One CD, hence the mild success.

[Jay 37,346]

Yea the search function is broken somehow... it only shows you one result even while telling you there are others. S'weird.

Some of my friends love Tom Waits... I can't stand any of his music I've ever heard. Loved him in The Imaginarium Of Doctor Parnassus though.

[Joe Brausam 214]

Received all 3 editions of Amazing Stories from a member on the FSM board for just $60. Nice buy!

[Marian Schedenig 8,191]

Recent acquisitions:

Horner: Star Trek III (Complete) - Filling the last gap in my Trek movie scores collection (now all I still need is an original Trek IV). A fun score, great sound. Lots to like, although I'll never understand the common fascination with Stealing the Enterprise. It sounds unfocused and bumpily synched to the visuals. Its best bits, where it doesn't sound like a clumsy copy & paste from themes elsewhere in the score, are taken from Prokofiev or Horner's own brilliant Brainstorm.

Giacchino: Star Trek DE - A good release of a good score. Chutes and Matters is easily the highlight and the one cue I was always missing on the OST. The lack of choir in some tracks doesn't bother me - I don't recall the film versions, so I don't hear where the choir would have been anyway. Still, there are two possible reasons for its absence: 1) It should always have been there and they didn't want to afford the choir fees. In that case it would be a bad production job and a butchering of art, like recording a piano concerto without a soloist because the orchestra alone is so expensive. Or 2) The choir was a later addition and not Giacchino's original intention. In which case the liner notes should clear up the confusion. Which brings me to the sets one weakness, the packaging: It's horrible. Advertising a so-and-so-many page booklet to score fans (!) when all they contain are movie stills is a classic "Ultimate Edition" cheat. And the "landscaped Blu-ray" format is absurd. It's like putting a CD in an LP cover. The only way this thing is going to fit in most shelves is upside down, leaving only the bottom edge of the booklet pages visible to the observer. It's not just pointless, it's unnecessary.

Giacchino: Lost Season 5 - I've kind of overdosed on Lost over the past few months up until the series finale, so playing the CD without paying close attention didn't really stick out, having heard all those themes over and over again in the series. I'm sure it's fine, and I'll certainly pick up the S6 score when it comes out, but it'll take a while until I can appreciate this.

Goldsmith: Outland - A very fine score, with great sound. It sounds like Alien's little brother to me. Had Goldsmith not written that, Outland might be much higher regarded among his output.

Rosenman: Prophecy - Sounds fun. Also, as seems common with Rosenman from the 70s/80s, it sounds pretty much like additional cues from LOTR. Seems he had a rather limited collection of motifs, bridges and tricks he kept mixing and re-combining for many different scores. Hardly original, but fun enough. Good ballsy sound.

North: Dragonslayer - As expected, this is a tough one. I respect North, and I'm quite impressed with this, but I don't find listening to it easy. I'm usually that way with North, though. Great sound again.

Williams: A Guide for the Married Man - A pleasant surprise. I wasn't expecting much, loving a few of the themes from his other comedy scores of the time (particularly Fitzwilly) but rarely listening to any of them. This was genuinely fun and interesting. The Globetrotters is quite accomplished.

Arnold: Independence Day (complete) - Quite good, a fun score. Not a great score by any means, and considering I hadn't listened to the original album in years, I probably didn't really need this. It's enjoyable enough though.

Gipsy Kings: The Very Best Of - Cool stuff, exactly right for this time of year.

Tom Waits: Swordfishtrombones - Good. Love In the Neighbourhood (my main reason for getting this).

Meat Loaf: Bat Out of Hell III - A somewhat mixed bag. Some good stuff, mostly ok songs, a couple of bad ones. Nowhere close to the quite amazing second installment (I've never heard the first album in the series, but it should arrive within the next few days).

The Rolling Stones: Sticky Fingers - Finally replacing my old CDR with the recent remaster. Still one of their top albums. Awesome.

[Koray Savas 2,251]

Some of my friends love Tom Waits... I can't stand any of his music I've ever heard. Loved him in The Imaginarium Of Doctor Parnassus though.

He was deliciously perfect in that role. Received the two M. Ward albums today. I'm lovin' them.

[Marian Schedenig 8,191]

Waits should act more. He was good in Parnassus, but he was awesome in Short Cuts and Bram Stoker's Dracula.

[Koray Savas 2,251]

Inception - Hans Zimmer

Knight And Day - John Powell

[Trent B 337]

Recent acquisitions:

Giacchino: Star Trek DE - A good release of a good score. Chutes and Matters is easily the highlight and the one cue I was always missing on the OST. The lack of choir in some tracks doesn't bother me - I don't recall the film versions, so I don't hear where the choir would have been anyway. Still, there are two possible reasons for its absence: 1) It should always have been there and they didn't want to afford the choir fees. In that case it would be a bad production job and a butchering of art, like recording a piano concerto without a soloist because the orchestra alone is so expensive. Or 2) The choir was a later addition and not Giacchino's original intention. In which case the liner notes should clear up the confusion. Which brings me to the sets one weakness, the packaging: It's horrible. Advertising a so-and-so-many page booklet to score fans (!) when all they contain are movie stills is a classic "Ultimate Edition" cheat. And the "landscaped Blu-ray" format is absurd. It's like putting a CD in an LP cover. The only way this thing is going to fit in most shelves is upside down, leaving only the bottom edge of the booklet pages visible to the observer. It's not just pointless, it's unnecessary.

The choir was definitely meant to be in those cues. Varèse opted the cheap route and decided not to pay the choir fees for them. Same thing happened with JNH's The Last Airbender. The label who released it opted not to pay the choir fees and didn't include them, even though they were meant to be there. The ones for Giacchino's Star Trek are a bit lifeless with out them in my opinion. The packaging for Star Trek definitely is horrible and it sticks out like a sore thumb with the rest of the CD sets.

Arnold: Independence Day (complete) - Quite good, a fun score. Not a great score by any means, and considering I hadn't listened to

the original album in years, I probably didn't really need this. It's enjoyable enough though.

This one really needed the expansion, especially to have the revised final film version battle cues. Those revised cues were never with any boots and so it was a nice welcome to finally hear those outside of the film.

[Demondm810 399]

Inception-Zimmer

Knight and Day- Powell

Karate Kid- Horner, bought the CD-R on demand for the lossless audio...

[indy4 155]

The Fury: Deluxe Edition!

[Koray Savas 2,251]

Nice! How much did you pay if you don't mind me asking?

[indy4 155]

Nice! How much did you pay if you don't mind me asking?

76 dollars...more than I've ever spent on a CD or group of CDs, but less than I've ever seen The Fury going for.

[Wojo 2,453]

Mine wasn't that much...not nearly that much at all.

[Koray Savas 2,251]

Yeah that's a good find. I paid $80, which was the lowest I figured I would ever find it for.

[Trent Hoyt 13]

The River- Williams

Cutthroat Island- Debney

The Blue Max- Goldsmith

Battlestar Galactica Season 3- McCreary

Class Action- Horner

Planet of the Apes- Elfman

[Ollie 1,059]

Nice to see Jennifer back.

$76.00 is a good price for The Fury. Just hope nobody re-releases it. :cool:

I guess I'll be doing a triple purchase from LaLaLand on the 27th.

[Trent Hoyt 13]

I've gotten a lot of comments about her. I'm glad to have her back too.

[Koray Savas 2,251]

Am I missing something here?

Never mind, your avatar JUST updated after I posted this.

[Jay 37,346]

Something weird happens with both this board and teh FSM board where I don't see updated avatars (or signature gifs) until I do a hard refresh (hold do ctrl before clicking refresh). It's weird. I wonder if its something introduced in recent versions of firefox

[Henry B 50]

That also happens to me with Google Chrome, Jason.

[Marian Schedenig 8,191]

Something weird happens with both this board and teh FSM board where I don't see updated avatars (or signature gifs) until I do a hard refresh (hold do ctrl before clicking refresh). It's weird. I wonder if its something introduced in recent versions of firefox

I've had that for a long time. Never investigated, I just assumed it's due to imprecise cache timeouts on the image resources.

[Demondm810 399]

Decided to check out the FYE in the shitty mall near me (the girl was shopping for a wedding shower present) Got the following used!

John Williams- The Reivers, Images

Hans Zimmer- The Simpsons Movie, Gladiator, More Music From Gladiator, Black Hawk Down

Danny Elfman- Milk, Charlotte's Web, The Wolfman

Robert Rodriguez, Spy Kids 3

Basil Poledouris- The Hunt For Red October

All of those for under 50 bucks. Sure glad I went in there. Was worth it for tThe Reivers alone, been wanting that for a while. At 4.99, couldn't be beat.

[indy4 155]

Wow that's a fantastic buy! I haven't seen the Reivers for less than $25.

[fommes 153]

You lu'y bast'd!

[Romão 2,274]

As it was my birthday, I got a bunch of stuff:

Monsters Inc - Randy Newman

How the West Was Won (Alfred Newman)

Sunset Boulevard - Franz Waxman (Mcneely Re-Recording)

Peyton Place - Franz Waxman (Mcneely Re-Recording)

Rebecca - Franz Waxman (Mcneely Re-Recording)

S.W.A.T - Elliot Goldenthal (I now have nearly every Goldenthal cd available)

LA Confidential - Jerry Goldsmith

The Three Worlds of Gulliver - Bernard Herrmann (Mcneely Re-Recording)

Body Heat - John Barry (Mcneely Re-Recording)

The Black Robe - Georges Delerue

Star Trek - The Undiscovered Country - Cliff Eidelman

[Andy 4,119]

Makes me want to go to my FYE, but they never have anything good.

[Ollie 1,059]

Yeah, I'm somewhat shocked to see that they had those titles.