The Official "Album Presentation vs Complete & Chronological Presentation" Thread Round 2

[bruce marshall 1,315]

Well, judging from the responses here.....y'all never stop thinking about Thor!😝

 

I only listen to the orchestral highlights from Wagner operas.

You do too!

 

[Thor 7,465]

On 10/8/2020 at 8:09 PM, Romão said:

I apologize for that, I should not have made any personal judgments.

 

We'll attribute it to a momentary lapse of reason (great Pink Floyd album too, btw)!  Because outside that, you're one of the few levelheaded people who seem able to debate this rationally without making it personal. I'm not really interested in countering personal attacks, psycho-analyses and what-have-you.

 

I wanted to address your individual examples from earlier. My replies will not be very suprising, but it goes to tell how different we experience these things.

 

Quote

- The OST album and the expansion offer totally different, but valid,  listening experiences, without one replacing the other. Example: E.T., Jaws

 

I've very, very rarely experienced that an expansion warrants a valid listening experience, and certainly not compared to the OST (if there is an OST). In the cases of E.T. and JAWS, the OSTs are on a whole other level, conceptually and structurally, than their subsequent expanded versions. So overall, these C&C versions hold little value to me as an album. However, I made use of the 20th anniversary edition of E.T. in an archival fashion: I analyzed the E.T. score in my university thesis, and included a CD with reference tracks. Since some of the cues I analyzed weren't on the MCA, but only on the 20th disc (which I got in the lavish E.T. gift box set from 2002), I included them on the reference CD. Expanded versions will always have this useful archival or archeological value for film and film score-in-context analyses.

 

Quote

- The OST album was severely lacking in the way it presented the score (due to various factors, like short length, odd sequencing, lacking in sound quality, over-reliance on the inclusion of pop songs for commercial purposes, etc.), and only through the expanded edition did the score really come to fruition. Examples: The Shadow, A.I.

 

I will agree with you on the point of pop songs, and partly sound quality -- although that is very rarely an issue for me. It will have to be really bad, like Michael Small's MOUNTAINS OF THE MOON or the first release of RAIN MAN from Perseverance. In these cases, there is obviously room for improvement. Sequencing or length-wise, however, I disagree. I haven't heard the expanded version of THE SHADOW, but the OST works great as is. I tried sampling the expanded A.I., but quickly had to stop and delete it as it basically ruined my appreciation of the score as a 'musical work'.

 

Quote

- The OST already presented a good distillation of the score and great listening experience, but the expanded edition made the whole architecture of the score come to life, to the point tracks already included on the OST are given a new whole dimension due to the context that surrounds them. Examples: Dracula, The Lost World.

 

In terms of 'architecture', there is only one type that is relevant to me, and that is how it is REBUILT for album purposes. Filmic context is of no relevance to me in soundtrack listening. In both THE LOST WORLD and DRACULA, there is a beautiful structure on the OSTs that is sonata-like in nature (home-away-home again), for example by opening and closing the albums with concert-like pieces, and portioning out the romantic with the action-oriented evenly throughout the running time. Williams always does this well.

 

Quote

- The OST was a great album, but the score is simply too sprawling and plentiful in riches to the be contained to a single cd. Examples: The Empire Strikes Back, The Phantom Menace, Hook.

 

In the case of TESB, I sorta agree with you; it's rich enough to warrant a little bit of extra music. I prefer the Arista box version over the OST (even if the OST is great as it is). For THE PHANTOM MENACE, the OST gets it. HOOK is rich, but already generously presented on the Epic CD. In fact, some of the action material kinda drags (like "The Ultimate War"). So I would actually have preferred an even more succinct release of some 60 minutes here.

 

Quote

- The OST was a perfect summation of the score and the extra music on the expanded edition, while interesting on its own, did not improve the listening experience. Examples: Ran, Batman, Jurassic Park.

 

There have been times where I've heard a previously unreleased track, like "The Big Rescue" on SUPERMAN, and thought "hmmm, that was nice". But it's not something I've longed for or even want to have included. In that particular case, it could probably have been included on the OST without ruining its listening flow too much, but I live perfectly fine without it too (I sold my 2CD SUPERMAN set from Rhino years ago).

 

Quote

- The OST was a great album, but the choice of tracks included was influenced by other factors besides purely musical flow, so a better album assembly might have been possible had all the elements been available for inclusion. Examples: Sphere.

 

I think SPHERE is fine. What 'other factors' do you have in mind? Re-use fees? 

 

A lot of people find things like re-use fees or physical space limitations drawbacks. They can be, but they don't have to. In some cases, the alloted time (let's say two 20-minute blocks) forces the composer-producer to really focus their presentation; whittle it down and turn it into a 'symphony' of sorts.

 

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- The OST was a great album assembly and the expanded score actually made the score seem worse. Examples: Masada, The Black Cauldron, The Fury.

 

This, of course, is my 'default mode' in 95% of the cases.

 

Quote

- The OST was a good presentation of the score and listening experience, but the expanded edition, while not being a perfect listening experience on its own, presents enough valid extra material for one's own improved playlist. Examples: Bram Stoker's Dracula, The Thin Red Line.

 

I've never really been fond of the 'interactive' approach that many fans have to soundtracks. It would be a bit like getting the sketch of a painting from an artist, and then a box of colour pencils to fill it out yourself. Or an unedited film that you're asked to edit yourself. The act of composing music for film is an artform, but so is the act of producing a listenable soundtrack album out of that score - which now becomes raw material. Adaptation is an artform; heck it's even a category at the Oscars.

 

So I'd rather not do it myself, I'll leave it to the artist. But there are 'emergency situations' where no OST exists, and the album is too long. I then have to whittle it down and make a playlist myself. Rarely for something longer, though, but shorter.

 

Kilar's DRACULA works fine in its OST; it's a very 'intense', chromatic and at times minimalistic score that only barely sustains its existing time, but the intense material has again been portioned out carefully, and doesn't  wear out its welcome. THE THIN RED LINE is pretty much perfection, as far as I'm concerned. I've never felt any need to add anything myself.

 

Quote

- The expanded edition presents alternates that are great to listen on their own, even when completely removed from an album program. Examples: The Matrix Reloaded, Blade Runner.

 

Alternates, demos, bonus tracks etc. have no value for me as part of the listening experience. They can occasionally be fun and illuminating - in their archival, curiousity value, but that's about it. Occasionally, however, I've found some source cues that have their own innate musical quality and can be added to the listening experience, like Williams' GOODBYE MR. CHIPS. I like the 3CD BLADE RUNNER set because it's so clearly organized as musical journeys - the OST, then unreleased tracks organized into its own thing, then the inspired by-tracks, again organized into its own thing. It was never just a question of transferring music from the audio track on the film and onto an album.

 

----

 

So in short, I'm obviously more extreme than you are. I'll never say 'it depends', which is the case for your examples above. My experience is more 9 times out 10, an expansion doesn't work as an album. I think this very much relates to my different and rather unique path into soundtracks, through other musical genres like prog rock and electronic music. Most people got interested in soundtracks through the films, and so they will always use the film - and the music therein - as their reference point. To me, that isn't really interesting. I'm only interested in how what I have works a musical ride.

 

There is one question I haven't received so far, which is kinda surprising. That is: If you have so little interest in how the music appears in the film, then why do you listen to soundtracks at all?

[Holko 9,499]

1 hour ago, Thor said:

In the cases of E.T. and JAWS, the OSTs are on a whole other level, conceptually and structurally, than their subsequent expanded versions.

E.T. is on a whole other level indeed, banally hitting you over the head with its material as opposed to letting it blossom in a gorgeous slow burn.

1 hour ago, Thor said:

I tried sampling the expanded A.I., but quickly had to stop and delete it as it basically ruined my appreciation of the score as a 'musical work'.

1 hour ago, Thor said:

In both THE LOST WORLD and DRACULA, there is a beautiful structure on the OSTs that is sonata-like in nature (home-away-home again), for example by opening and closing the albums with concert-like pieces,

Oh, you mean Main Title and End Titles? And the two Lost World versions? Exactly like how it is on the expansions too?

1 hour ago, Thor said:

Kilar's DRACULA works fine in its OST;

Yeah, like all the horrible edits and crossfades and pieces with completely different moods and tempos layered on top of each other snapped directly from the film stem, ending up a lot more messy and jumpy and unmusical than any expansion, same es with many other terrible OST-only edits?

 

For whatever reason you just can't let yourself accept or even think that the composer could have been good at his job and did well in the first place.

[Thor 7,465]

28 minutes ago, Holko said:

Oh, you mean Main Title and End Titles? And the two Lost World versions? Exactly like how it is on the expansions too?

 

It's a general thing with Williams. He often opens his albums with concert pieces or themes. I like variations of this too. In JURASSIC PARK, for example, he starts with those mysterioso choral and percussive elements, before launching into the 'overture' that is the main theme(s). Mostly, however, it's about the ebb and flow he creates within the album programme itself - placing 'setpiece' tracks carefully and evenly throughout, so that the experience doesn't get bogged down in big 'chunks' of similarity due to the film's whims.

 

Quote

Yeah, like all the horrible edits and crossfades and pieces with completely different moods and tempos layered on top of each other snapped directly from the film stem?

 

I'm afraid I've never been bothered by any 'horrible edits' or 'crossfades'. It all comes together very well.

[Jurassic Shark 12,029]

There are indeed some jarring cross-fades between pieces of different character.

[Thor 7,465]

Again, not something that has bothered me, or that I've even been aware of in the 25 years I've owned and listened to this album.

 

If I have any criticism of the OST, it's that screaming witch stuff. I could be without that. Also, a lot of the music is rather static, staying in the same register for an extended period of time. That can grate a bit, but it's more a criticism of the music itself than its OST presentation.

[Holko 9,499]

1 minute ago, Thor said:

Again, not something that has bothered me, or that I've even been aware of in the 20+ years I've owned and listened to this album.

 

Right, so you don't notice that mess or numerous other unmusical edits but you abandon AI's incredible journey after a few tracks because you can totally immediately tell it's a bad musical work. Gotcha.

[Thor 7,465]

No, I sampled the whole of that A.I. release, but I had to skip ahead on some of the tracks.

[Arpy 4,145]

The greatest listening experience is had through watching the film. OSTs and C&Cs never live up to the experience of hearing it married to the picture. Sometimes it can be disappointing (see Rise of Skywalker) most times it's incredible (see Raiders of the Lost Ark).

 

 

[Holko 9,499]

4 minutes ago, Arpy said:

The greatest listening experience is had through watching the film. OSTs and C&Cs never live up to the experience of hearing it married to the picture.

Sure, when it's dialed down, unused, cut up tracked somewhere else, mixed under foley and dialogue so you can't hear any details or intricacies... I'd say an isolated score, or a listen to the full thing with the movie in your mind could be best.

[Nick Parker 3,040]

43 minutes ago, Thor said:

It's a general thing with Williams. He often opens his albums with concert pieces or themes. I like variations of this too. In JURASSIC PARK, for example, he starts with those mysterioso choral and percussive elements, before launching into the 'overture' that is the main theme(s). Mostly, however, it's about the ebb and flow he creates within the album programme itself - placing 'setpiece' tracks carefully and evenly throughout, so that the experience doesn't get bogged down in big 'chunks' of similarity due to the film's whims.

 

12 minutes ago, Thor said:

No, I sampled the whole of that A.I. release, but I had to skip ahead on some of the tracks.

 

As someone who thinks AI is one of the best extended pieces of music ever written, I've had to do the same, and your first post I quoted is one of the reasons I love the OST. Mecha World is such a hell of an album opener, it was an absolutely genius move on Williams' part. Combine that with the second punch of Abandoned in the Woods, and you're immediately and deeply sucked into this dark, fantastical world that Williams has constructed.

 

4 minutes ago, Holko said:

Sure, when it's dialed down, unused, cut up tracked somewhere else, mixed under foley and dialogue so you can't hear any details or intricacies...

 

Film music should be seen, not heard!

 

[Thor 7,465]

3 minutes ago, Nick Parker said:

As someone who thinks AI is one of the best extended pieces of music ever written, I've had to do the same, and your first post I quoted is one of the reasons I love the OST. Mecha World is such a hell of an album opener, it was an absolutely genius move on Williams' part. Combine that with the second punch of Abandoned in the Woods, and you're immediately and deeply sucked into this dark, fantastical world that Williams has constructed.

 

Well put!

[Arpy 4,145]

16 minutes ago, Holko said:

Sure, when it's dialed down, unused, cut up tracked somewhere else, mixed under foley and dialogue so you can't hear any details or intricacies... I'd say an isolated score, or a listen to the full thing with the movie in your mind could be best.

No Time For Caution!

[Holko 9,499]

uhhhh

[Richard Penna 3,670]

2 hours ago, Thor said:

A lot of people find things like re-use fees or physical space limitations drawbacks. They can be, but they don't have to. In some cases, the alloted time (let's say two 20-minute blocks) forces the composer-producer to really focus their presentation; whittle it down and turn it into a 'symphony' of sorts.

 

In many cases it's not even that. Sphere, along with most of Varese's 90s releases, was only 35 minutes. The complete score to Sphere is 1:41, with other action scores from that period floating around that kind of length.

 

That means that just ~30% of those scores is initially available. While far from ideal, an initial release of that length is better than nothing. We lived with countless albums of this length for decades.

 

If a score gets that sort of reconceptualised release, that point is where your input in any part of the release process for that score should end. You've got your symphony, and now that time has passed and the rest of us get our expansion.

 

[Romão 2,274]

6 hours ago, Thor said:

 

 

Thor, I was writing a lengthy response to your comments, but I accidently deleted it and I was not able to recover what I had written thus far and I just can't bring myself to rewrite right now, it's too frustrating. I'll get to back you in a few days. Lousy "back" button on the mouse

[Thor 7,465]

17 minutes ago, Romão said:

 

Thor, I was writing a lengthy response to your comments, but I accidently deleted it and I was not able to recover what I had written thus far and I just can't bring myself to rewrite right now, it's too frustrating. I'll get to back you in a few days. Lousy "back" button on the mouse

 

No problem. Been there myself; highly annoying.

[bruce marshall 1,315]

I think my 61

minute version of A.I

kicks all others ass!

 

( ignore the track numbers)

" Neither Flesh Nor Blood" is unused,  retitled " Operating Scene" on LLL.

 

 

[MedigoScan 324]

I am one of those wackos who prefers complete expansions (so I can choose for myself what tracks to skip and which to keep) and music to be as close to the way it was in the movie. (preferably chronological that)

Also context does help, but I prefer listening to music AS music, and not with a whole barrage of SFX and voices behind it.

So put me in whatever camp that fits.

[bruce marshall 1,315]

I'm not putting you in any camp.

I'm committing you to Arkham Asylum, with the rest of the C & C Crazies!😝

[Manakin Skywalker 4,891]

The true crazies are the ones who'd rather have less music than more!

[bruce marshall 1,315]

2 minutes ago, Manakin Skywalker said:

The true crazies are the ones who'd rather have less music than more!

The truest crazies are the ones who can't live without a fifteen second cue which consists of nothing but tremolo strings!😛

[Manakin Skywalker 4,891]

Just now, bruce marshall said:

The truest crazies are the ones who can't live without a fifteen second cue which consists of nothing but tremolo strings!😛

 

Those 15 seconds of tremolo strings completely change the vibe of the score!

[bruce marshall 1,315]

[SyncMan 313]

My desire to buy complete film-score album releases came in the summer ’87 where I went to the movies for a double-bill-‘Masters of the Universe’ and ‘Monster Squad’.  I enjoyed the action music in MOTU and I wanted to buy the album.  I finally got it--the first album release by Varese--and I was disappointed that none of the action cues were on it.

Since then, I started watching rented VHS tapes where the music was of interest and making notes of the music cues (I would give it names and action descriptions) and the duration of each cue with a stop-watch.  If I was interested in buying the CD, I would take my list and check it against the track-list on the CD cover at a record store.  At that time, I didn’t take into consideration that the music heard in the film would have been edited down or that music-cues would be combined for the album.

The result of my idea of collecting the right CDs for me was a hit-or-miss. I was happy with ‘High Spirits’, but was disappointed with ‘The Fly II’.  In the latter, the one cue I wanted to play on my stereo was not on the Varese CD.  It’s where Brundle, Jr ransacks his room in searching for a hidden camera when he finds out that Bartok broke his promise on not having the kid under surveillance.  Christopher Young’s music for that scene had some good fury coming from the orchestra. 

I guess some of us want a soundtrack album to have every cue of music from the film because we want an assurance that we get the music that we liked from the music, even if this album had a bunch of cues that we didn’t like.

[mstrox 6,647]

Bruce why is your 61 minute edit of AI spread out over two discs?

[bruce marshall 1,315]

44 minutes ago, mstrox said:

Bruce why is your 61 minute edit of AI spread out over two discs?

Because I received a version of the Academy promo on two cdrs.

You can replicate my program onto one CD, just go by the track titles.

[mstrox 6,647]

Oh, I get it

[Schilkeman 955]

I'm really starting to suspect that I prefer OST's to expansions, having now bought a lot of them. When included, I listen to the OST program a lot more than the full score. Maybe this Williams fella knows what he's doing.

[bollemanneke 3,337]

The Wizards' Consort. The Neverfeast (insert). Listening to Carson. My Destiny. Harry Gets His Wand. Should I continue?

[GerateWohl 4,335]

I mentioned it somewhere else, that, especially as a kid, I found OSTs with their specific album edits really inspiring to make up my own movies in my head as the tracks did not really fit the pictures. If from the beginning I just would have hade these C&C editions I just would have followed the original movie in my head, when listening to the music.

But this way the OSTs were much more spuring creativity.

 

But for me the OST is not always the first choice. Sometimes I prefer the C&C, sometimes the OST (plus sometimes my favourite non OST tracks from the expansion).

 

 

 

[Schilkeman 955]

1 hour ago, bollemanneke said:

The Wizards' Consort. The Neverfeast (insert). Listening to Carson. My Destiny. Harry Gets His Wand. Should I continue?

I certainly appreciate having those. 

 

I listen to a lot of classical music, a lot of absolute music. Film music is not absolute, nor is it really program music. It's accompaniment. It lends and adds, it does not contain, all to itself, the intellectual and emotional depth of the film. Therefore, when I am listening to a film score, I have to appreciate it on the level of compositional technique on display. Williams is a Brahmsian master of tickling our ears. He has the virtuosic ability to write music that is always doing something without feeling over-composed.

 

Listening to the OST vs expanded releases cuts a lot of good music, to be sure, but it's largely in pieces, because it's supposed to be filled in with sound effects and dialog to get from one cue to the next. The OST is a more seamless listening experience, in this case, curated by the finest film composer of all time. I find his judgment sound.

 

In film music, a lot of composers, even the great ones, use certain shorthand techniques, largely masked by the sound and dialog of films, to give the impression of complexity that gets exposed when listening only to the score. I'm thinking of Shore's LotR scores, which do wonders in the films, but contain painfully dull stretches of underscore, and even some of the big moments, like the destruction Barad-dur, lack weight without the film. I can think of similar examples from Goldsmith and Horner, and several others. In these cases, I vastly prefer the OST to complete recordings.

 

This is just me thinking out loud, though. I don't expect, or ask, anyone to think as I do. And I'm certainly not getting rid of my expansions.

 

 

[ThePenitentMan1 742]

When I was a kid, I found the OST for TPM...  incomprehensible.  It was my later dissatisfaction with the first Intrada album for Broughton's Lost In Space that spurred me to start making fanedits of my favorite film scores.

 

My appreciation for OST programs has definitely gone up since then.  In fact, it was actually Thor's posts in these two threads that helped me understand their appeal!

 

I've even made a 45-minute playlist for that first Intrada album for LIS to help me appreciate it's unique track assemblies more:

 

It doesn't get nearly as many listens as my C&C fanedit, but it's always there when I'm in the mood for it.

[crocodile 7,984]

I can enjoy either, depending on time, mood and preference etc. Sometimes, I get swept away by the grand architecture of the thing and want to hear it unfold in all its glory, sometimes I want a concise overview, sometimes I just want single highlights. Some of the scores work brilliantly while expanded, others don't work at all. Yes, the creation of an album is an art in itself that has often nothing to do with the complete work, similarly to concert composers creating variations on their work. I myself have all sorts of playlist configurations of individual titles. Yet, it is also important to see the entire thing to appreciate the nuance and inherent information contained within the structure. All of it can be relevant.

 

Karol

[bruce marshall 1,315]

[bollemanneke 3,337]

The thing is, I am much more open to the idea of an album experience. The problem is that some of JW's albums just don't leave me satisfied at all. For example: Hook has a really great flow, as does Far and Away, possibly because they're chronological. But Harry Potter just completely misrepresents the music for me. Every time I put them on, I think: yeah, fine, that was all right, but where is x and x and x? 

[Jurassic Shark 12,029]

9 hours ago, Schilkeman said:

I'm really starting to suspect that I prefer OST's

 

How did your parents take it?

[Richard Penna 3,670]

22 minutes ago, bollemanneke said:

The thing is, I am much more open to the idea of an album experience. The problem is that some of JW's albums just don't leave me satisfied at all.

 

Williams is trying to do something that I reckon Zimmer does a lot better - crafting a listening experience whilst recognising obvious highlights that should be included. (Zimmer needs to take his head out of his pretentious ass and allow more expansions though)

 

I do think he succeeds some of the time. I agree that Hook is excellent - my 50-minute assembly is based on it, and the anniversary JP release is about as good as it gets in terms of including nearly everything with exceptionally well designed suites.

[enderdrag64 624]

16 minutes ago, bollemanneke said:

The thing is, I am much more open to the idea of an album experience. The problem is that some of JW's albums just don't leave me satisfied at all. For example: Hook has a really great flow, as does Far and Away, possibly because they're chronological. But Harry Potter just completely misrepresents the music for me. Every time I put them on, I think: yeah, fine, that was all right, but where is x and x and x? 

Yeah I agree. I do believe all of the music should be released for all scores, but for a casual listening experience I don't necessarily want to listen to all of the cues, especially the filler.

 

Not even the Star Wars scores are immune. Say for instance The Phantom Menace, there are several mostly filler cues in the opening (Queen Amidala, The Bubble World) that I might want to skim through/skip while driving for example. I can understand the appeal of a cutdown curated album with just the highlights.

 

In my experience, that's not what OST presentations do. The Phantom Menace in particular is terrible at this. Half of the score's biggest highlights are completely missing (Droid Fight, The Race Begins, Laser Fight, Blowups and the Death of Darth Maul), and half the music that is on the album is either included multiple times (Naboo Palace, End Credit, Anakin's Theme) or is the filler that I came to the album to skip (Queen Amidala, The Bubble World).

 

I really don't understand the appeal of an album like this

[Richard Penna 3,670]

I sort of liked TPM when I first got into scores, but as I've never seen the film it was a pure concept album and those sequences certainly didn't make the greatest listening. I haven't listened to it in years.

 

For me, RotS has the strongest material of the prequels, but an absolute abomination of an album in terms of what Williams thought was interesting and storytelling material - the only one I'm qualified to comment on as it's the only prequel I've seen. (I've seen 3 of the 9 SW films and have zero desire to watch any more, or any of them again)

[Manakin Skywalker 4,891]

3 hours ago, enderdrag64 said:

filler that I came to the album to skip (Queen Amidala

 

 

2 hours ago, Richard Penna said:

I've seen 3 of the 9 SW films and have zero desire to watch any more, or any of them again

 

[Bellosh 3,385]

The only way I listen to jaws now if I don't listen to the original album is: every cue and source music in order of the film. So yes I listen to the band music and all the summertime July 4th pieces.

 

It's a great listening experience but I'm sure it would make some members here cringe.

[Manakin Skywalker 4,891]

.

[enderdrag64 624]

5 minutes ago, Manakin Skywalker said:

 

 

Specifically the flute bit from 0:34-1:13

[ThePenitentMan1 742]

3 hours ago, enderdrag64 said:

the filler that I came to the album to skip (Queen Amidala, The Bubble World).

 

I really don't understand the appeal of an album like this

 

Agree with The Bubble World, but not Queen Amidala.  In my (1 hour, 45 minute) work playlist, I keep Queen Amidala (I have it overlapped with The Droid Invasion) and throw out The Bubble World and all of the Coruscant music except for Naboo Palace, Anakin's Test (W/ Insert), and an edit of The Chosen One that starts from 1:33-end.  The rest of the Coruscant music saps too much of my energy, which is the opposite of what I want from a work playlist.

[Edmilson 7,392]

7 hours ago, crocodile said:

I can enjoy either, depending on time, mood and preference etc. Sometimes, I get swept away by the grand architecture of the thing and want to hear it unfold in all its glory, sometimes I want a concise overview, sometimes I just want single highlights. Some of the scores work brilliantly while expanded, others don't work at all. Yes, the creation of an album is an art in itself that has often nothing to do with the complete work, similarly to concert composers creating variations on their work. I myself have all sorts of playlist configurations of individual titles. Yet, it is also important to see the entire thing to appreciate the nuance and inherent information contained within the structure. All of it can be relevant.

 

Karol

[Schilkeman 955]

5 hours ago, Jurassic Shark said:

 

How did your parents take it?

Their force ghosts visited me and said, “if you choose to listen to ost’s you will do it alone. We cannot interfere,” and I said, “I understand.” Then I lit up a fat one and put on Return of the Jedi’s ost.

[Manakin Skywalker 4,891]

3 hours ago, enderdrag64 said:

Specifically the flute bit from 0:34-1:13

 

Tbh I was thinking of the cue Queen Amidala. I completely forgot Naboo Palace was part of the OST track (since I never listen to the OSTs anymore).

 

3 hours ago, ThePenitentMan1 said:

and an edit of The Chosen One that starts from 1:33-end

 

I couldn't possibly skip 0:39 to 1:00 👌

 

 

[enderdrag64 624]

11 minutes ago, Manakin Skywalker said:

 

Tbh I was thinking of the cue Queen Amidala. I completely forgot Naboo Palace was part of the OST track (since I never listen to the OSTs anymore).

 

yeah that's what I'm talking about

 

I mean it's not bad or anything but it's definitely filler.

 

I like the first 34 seconds, 1:15-1:33 and 2:17-end.

 

Everything else is just a flute fucking around under dialogue. I mean it's not bad music or anything and it works fine in the film but it's neither memorable nor thematic

[ThePenitentMan1 742]

23 minutes ago, Manakin Skywalker said:

I couldn't possibly skip 0:39 to 1:00

 

 

 

I do tend to go back and forth on it, depending on whether I'm in a "I don't like cutting down cues" mood or a "I don't want to sit through any more TPM Coruscant music!" mood.  I might try adding it back into the program, perhaps overlapped with Anakin's Test as intended.

 

(I must also stress that this is just for my work playlist; a specialized program designed to keep me productive at work.  My home playlist is C&C with more cues separated than in my work playlist.)