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Which OSTs do you ***NOT*** need an expansion of?


Jurassic Shark
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Well, I don't really need expansions of anything per se, except for the previously mentioned "songtrack" category where there is only a single score track or two. If that qualifies, I need score-only albums of TOP GUN and SCARFACE, for example. I would love a release of these that contained all the songs on one disc, and a representative, 'arranged-for-listening' score portion on the second disc.

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You may want to make that NOT more prominent in the title, JC :lol:

 

Let's see, the OSTs I own without their expansions or that don't have any proper expansions are...

 

The Post

Interstellar

SW1-9

Memoirs of a Geisha, only digitally

Grand Budapest Hotel

Arrival

 

And I think that's it, actually. I obviously really want the SWs and I'd be interested in checking out more of the masterpiece that is Geisha (though haven't seen the film yet), but I'm fine with the rest I think.

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6 minutes ago, Jurassic Shark said:

I'd be interested in Top Gun, but I'm not that familiar with the score to Scareface.

 

I have a 70-minute "boot" of SCARFACE that contains the songs, the few commercially released score cuts and what appears to be audio rips with SFX.  It's too long, and the audio rip tracks are practically unlistenable, but I aim to create a 'temporary' playlist out of this untill a commercial score release surfaces.

 

It's a fantastic score. I talked to Moroder about it, from 11:15 here.

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Impossible to mention them all, but I only really buy expansions of scores by primarily Williams, Goldsmith, Horner, and for the latter two I'm quite selective and tend to focus on the A-list titles.

 

For all other composers, I tend to get expansions only if the OST is heavily compromised in length, sound quality or presentation (e.g. Die Hard With a Vengeance, albums with lots of dialogue over the music, etc.) or if the score is a personal favourite (e.g. Cutthroat Island, ID4) or naturally if no OST exists.

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Of those Williams expansions already released: Far and Away, Minority Report, War of the Worlds, Schindlers List, Saving Private Ryan. Of those not yet released: probably a lot. To mind come Book thief, The Post, The Terminal, Munich, Sleepers, The Accidental Tourist, Always. Those have already well rounded OSTs, and to my knowledge there is not much substantial music missing.

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Elfman - Edward Scissorhands

(I prefer the listening experience of the OST program)

 

JW - Minority Report (the Expanded release is way too long)

 

 

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There was a time where I would buy the expansions nonstop for any score that I liked, but more often than not, my response after hearing the expansion was "well, I didn't need all that."  Now I pretty much only buy premiere releases and expansions of Williams and Elfman.  Even on those, I'm about 50/50 on whether I prefer the OST or the expansion.  

 

Williams examples - Jaws, 1941, Empire of the Sun, Home Alone, Home Alone 2, Schindler's List (rather than an integrated/reordered one with what we got), Rosewood, A.I. Minority Report, Harry Potters 2-3, War of the Worlds...

 

I'll echo Bespin - Edward Scissorhands doesn't gain anything from the expansion.  Same with Elfman's first Batman (but not the second), 

 

Conan the Barbarian is another one which is only listenable to me in the OST configuration, as I indicated in a different recent thread. 

 

Certain scores that I do really enjoy, I didn't even bother buying the expansions.  I like every James Bond score, but much to @Disco Stu's recent chagrin, I would not buy an expansion of any of them except Barry ones.  Titanic, Apollo 13, Legends of the Fall, The Mummy and The Mummy Returns are some other recent examples.  Those are on my maybe list - If prices or sales get good enough, I may dip into those.  But typically I'd rather spend money on a release of a score I've never heard than an expansion of a score when the highlights are already available.

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22 minutes ago, mstrox said:

But typically I'd rather spend money on a release of a score I've never heard than an expansion of a score when the highlights are already available.

 

Then I'd like to recommend the score to Lady Jane by Stephen Oliver. It's even got the best track named The Hunt!

 

 

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Sigh. I will never understand why someone thinks any OST is a good presentation of any score. Or do these people also like to read books witth random pages torn out of them or watch movies with random scenes censored because someone somewhere thought they wouldn't be interested in them? I've never seen any orchestra record a partial Beethoven symphony either because movement 2 was a bit slow.

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2 minutes ago, bollemanneke said:

I've never seen any orchestra record a partial Beethoven symphony either because movement 2 was a bit slow.

And Movement 4 moved in the front because that's the one the average schmuck knows and expects to hear.

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Quote

Titanic, Apollo 13, Legends of the Fall, The Mummy and The Mummy Returns are some other recent examples. 

 

The Titanic OST is a great album on its own, but it does not work as a representation of the score. Since nearly every cue was revised for the film, the LLL was absolutely necessary. My only complaint is that all the film versions were relegated to the bonus section. 

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I don’t mind expansions. Just because I don’t want an expansion of a certain OST doesn’t mean I’d begrudge anyone else the joy of having it - I can just choose not to buy it.

 

Like I did with Rosewood for example.

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11 minutes ago, rough cut said:

I don’t mind expansions. Just because I don’t want an expansion of a certain OST doesn’t mean I’d begrudge anyone else the joy of having it - I can just choose not to buy it.

 

Like I did with Rosewood for example.

 

The question was Which OSTs do YOU not need an expansion of, not Which expansion would you begrudge anyone else the joy of having.

 

:)

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48 minutes ago, Jurassic Shark said:

 

The question was Which OSTs do YOU not need an expansion of, not Which expansion would you begrudge anyone else the joy of having.

 

:)


No one ever gave anybody extra points for following the rules. 😉

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9 hours ago, bollemanneke said:

Sigh. I will never understand why someone thinks any OST is a good presentation of any score. Or do these people also like to read books witth random pages torn out of them or watch movies with random scenes censored because someone somewhere thought they wouldn't be interested in them? I've never seen any orchestra record a partial Beethoven symphony either because movement 2 was a bit slow.

A film score is created to accompany a film. A soundtrack album is a completely different entity than that.

 

And yes, there are abridged books and theatrical cuts of films, that are produced in the name of a more succinct experience. 

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12 hours ago, bollemanneke said:

Sigh. I will never understand why someone thinks any OST is a good presentation of any score. Or do these people also like to read books witth random pages torn out of them or watch movies with random scenes censored because someone somewhere thought they wouldn't be interested in them? I've never seen any orchestra record a partial Beethoven symphony either because movement 2 was a bit slow.

 

Because many scores can be a hard slog without some clever editing and rearrangement. Some are so good, they require very little editing, but they're not all created equal. And to put a twist on your book analogy, would you rather read the final edited book or the author's unedited manuscript? I've never met anyone who prefers the latter. Same with movies, the workprint is usually much longer than the final edited version that omits redundancies, resulting in deleted scenes.

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17 hours ago, Thor said:

Well, I don't really need expansions of anything per se, except for the previously mentioned "songtrack" category where there is only a single score track or two. If that qualifies, I need score-only albums of TOP GUN and SCARFACE, for example. I would love a release of these that contained all the songs on one disc, and a representative, 'arranged-for-listening' score portion on the second disc.

TOP GUN is On the way!

Friday!

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2 hours ago, The Big Man said:

And to put a twist on your book analogy, would you rather read the final edited book or the author's unedited manuscript? I've never met anyone who prefers the latter. Same with movies, the workprint is usually much longer than the final edited version that omits redundancies, resulting in deleted scenes.

No, the final full version of the complete score is not analogous to the workprint or unedited manuscript, alternates and unrecorded early versions are. And those all can still be fascinating.

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44 minutes ago, Holko said:

No, the final full version of the complete score is not analogous to the workprint or unedited manuscript. Alternates and unrecorded early versions are. And those all can still be fascinating.

 

Fascinating maybe, but are they the version the author/director wants people to read/see? And are they the way the work should be experienced? I doubt it.

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