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Jerry Goldsmith's LOONEY TUNES: BACK IN ACTION (2003) - 2021 2CD Varese Deluxe Edition


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Love this score! The Bad Guy theme and the Yosemite Sam/Horse Riding theme are great!    

Looney Tunes: Back in Action: The Deluxe Edition (CD) Original Motion Picture Soundtrack Jerry Goldsmith UPC:888072199392 Release Date: 1/8/2021 Limited Edition Of 2000 $ 24.98  

It's mightier than the sword.

Disc 1 looks like a fantastic new album program to listen to!

 

Disc 2 looks like a comprehensive collection of bonus material to occasionally check out!

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7 minutes ago, Edmilson said:

I like the movie, although I think it's inferior to Space Jam and Roger Rabbit.

 

But this scene is amazing:

 

 

 


No kidding. I wish the entire movie was that shit! Alas there was a ton of studio and producer meddling/oversight; Dante’s original vision for the film likely would have been a lot better.

 

I for one still think it’s better than Space Jam (I just don’t get the appeal of that though I know it was super popular) but nothing in this weird sub-genre can compare to Roger Rabbit, let’s be honest...

 

Yavar

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I feel kinda sorry for Goldsmith that this was the one he had to go out on. As I mentioned in the other threads about Kamen and Horner's last scores, I like to put his final "proper" effort a wee bit earlier.  I put HOLLOW MAN as his last great effort. But just a few moments before that, you'll find THE MUMMY, which is my alltime favourite JG score.

 

But LOONEY is the last score, whichever way you put it, so good for those who didn't get it the first time around.

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"Last effort", the problem with that idea, it's that's completely subjective.

 

I think everytime a composer do his job, he put his best effort, particularly great well known composers like Goldsmith.

 

The last scores of composers are their last scores. That's it.

 

For Goldsmith, it's Looney Tunes (2003) and the previous "complete" one he started to score when he was in relatively good health is the unused score to Timeline.

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5 minutes ago, bruce marshall said:

The Mummy is Thor s favorite Goldsmith score?!😳😳😳😳😳😳

 

Yes, by far. I thought that was common knowledge by now (since I've said it so many times).

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9 minutes ago, bruce marshall said:

He isn't a big JG fan, obviously.

REAL Goldsmith fans would never pick that one😁

 

At least he has enough guts to assume his choices. Music is related to tastes, so it's different for everyone.

 

My approach to music is that, I can "learn" to appreciate a kind of music that I don't liked at first earing. I tend to have a, well I think, respective approach to the music of a composer. My personal tastes are not the first criteria in the music I listen.  First, I have to respect the Composer. When I "adopt" a composer or an artist, I usually love everything (or almost) he composed.

 

Many here tend to like more "Action" scores, but the fact is that a film music composer usually compose music for many genres, not just action movies. You can prefer a genre over another one... but, when you love a composer, you have to understand his style, through all the genres he wrote for. That's the fun of loving film music composers I think: VARIETY.

 

But, eh, that's my approach.

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I'm not the biggest JG fan in the room, but I've heard most of what he's done over the years, and landed on this collection (pic below). He's easily in my top 10 film composers of all time. I decided on THE MUMMY as my favourite the moment I heard it back in 1999.

 

 

goldsmith.jpg

 

Alas, LOONEY TUNES didn't make the cut.

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11 minutes ago, Jay said:

Star Trek scores being displayed out of order :folder:

 

Thankfully, it's displayed properly in iTunes, which is organized by date of the film. 

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1 minute ago, Yavar Moradi said:

All I care about is when the recording is made. Therefore I have Inchon in my iTunes as a 1980 album, and Tadlow’s second Thriller as a 2017 album.

 

Yavar

 

This. Since that is also how I organize my classical music, it makes everything not only convenient but uniform, which is always nice

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Exactly. I probably have a different perspective to Thor because like you, I am also a classical music fan and collector. And with that I’m not putting the dates of composition (which would be like 1874, lol!) which after all with film music is sometimes even more different than the date of the film’s release. I have two different recordings of The Blue Max with different years on them in iTunes, because they were performed and recorded many decades apart! Same with Rio Conchos, etc.

 

What I *really* don’t get is when people put the year of the album release (especially with film music).

 

Like “The Don Is Dead (2020)”??

 

No. Just no. Then there’s Inchon (2006) and Inchon (2013) despite the fact that both had identical contents! (And someone might also have Inchon (1988) and Inchon (2020) now besides, which is even more madness when it’s all the same recording/performance!)

 

Yavar

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1 minute ago, Yavar Moradi said:

Exactly. I probably have a different perspective to Thor because like you, I am also a classical music fan and collector. And with that I’m not putting the dates of composition (which would be like 1874, lol!)

 

That's the type of date I set for all my classical compositions in iTunes (as far as the information is available)! When it's recorded makes no difference to me whatsoever.

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2 minutes ago, Yavar Moradi said:

Exactly. I probably have a different perspective to Thor because like you, I am also a classical music fan and collector. And with that I’m not putting the dates of composition (which would be like 1874, lol!) which after all with film music is sometimes even more different than the date of the film’s release. I have two different recordings of The Blue Max with different years on them in iTunes, because they were performed and recorded many decades apart! Same with Rio Conchos, etc.

 

Yavar

I agree. I listen to a lot of classical and sometimes when I go to grab a disc to spin, I am interested in a specific sound, like maybe, say, the London Symphony Orchestra in the late fifties or sixties. I guess that may be an odd way of doing it but I've never thought about it that way

 

1 minute ago, Thor said:

 

That's the type of date I set for all my classical compositions in iTunes (as far as the information is available)! When it's recorded makes no difference to me whatsoever.

 

I have easily accessible, comprehensive lists for that information because it is very important to me as well

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5 minutes ago, Thor said:

 

That's the type of date I set for all my classical compositions in iTunes (as far as the information is available)! When it's recorded makes no difference to me whatsoever.

 

Then why don’t you do the date of composition for film music too, Thor? Why does it matter at all that the film Inchon was released in 1982 (and a longer cut in festivals in 1981), while Goldsmith composed (and recorded yes) the work in 1980? The date of the film’s release had nothing to do with the score as a composition!

 

Now you’re just not being consistent! ;) It especially doesn’t fit with your approach of treating film music albums as entirely separate musical entities apart from the film. Why should the film release date matter when you are appreciating this music independently of it? Shouldn’t the composition date (or alternatively performance/recording date) be all that matters to you?

 

Yavar

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5 minutes ago, Yavar Moradi said:

 

 

Then why don’t you do the date of composition for film music too, Thor? Why does it matter at all that the film Inchon was released in 1982 (and a longer cut in festivals in 1981), while Goldsmith composed (and recorded yes) the work in 1980? Now you’re just not being consistent! ;) 

 

Yavar

 

Yeah, well -- composition date or premiere date for classical music. It depends on what type of information I find online, in booklets etc.. For films, the premieres are fairly easy to find. For classical music, it's trickier. But however close enough I can get to the inception, it's fine.

 

Sorting by recording dates seems extremely confusing to me, but again -- we all have different ways of sorting stuff.

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5 minutes ago, Thor said:

 

Yeah, well -- composition date or premiere date for classical music. It depends on what type of information I find online, in booklets etc.. For films, the premieres are fairly easy to find. For classical music, it's trickier. But however close enough I can get to the inception, it's fine.

 

Sorting by recording dates seems extremely confusing to me, but again -- we all have different ways of sorting stuff.

I have the information for classical music where I can look at works in the order they premiered for a composer, or in the order they wrote them. Although it is admittedly tricky to find all that information

 

While the recording information is typically more easily found and so the CDs are more likely to stay where they are put. I reasoned this allows the other two more historical and less album-ic orders to be kept more appropriately together

 

I totally understand a person doing it by the way that matters to them most. I did it the way that made the most logical sense with my collection because my own naggy little mind would allow nothing else

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My logic there is that I wouldn't have a hard time classifying Close Encounters 40th Anniversary because of Inside. So with that in mind, I go with the main attraction on the classical disc. I don't tend to buy compilations or economy-package releases unless it is the only program available or it is an incredible sonic upgrade. I opt for LP recreations, especially in big box sets. So there are a few recordings that are hard to classify, but it is pretty rare. Martha Argerich's Rachmaninoff 3rd and Tchaikovsky 1st is a tricky but necessary disc to file

 

I obviously keep symphony cycles and boxes together since they are all over the place

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9 minutes ago, blondheim said:

My logic there is that I wouldn't have a hard time classifying Close Encounters 40th Anniversary because of Inside. So with that in mind, I go with the main attraction on the classical disc. I don't tend to buy compilations or economy-package releases unless it is the only program available or it is an incredible sonic upgrade. I opt for LP recreations, especially in big box sets. So there are a few recordings that are hard to classify, but it is pretty rare. Martha Argerich's Rachmaninoff 3rd and Tchaikovsky 1st is a tricky but necessary disc to file

 

I obviously keep symphony cycles and boxes together since they are all over the place

Just Curious, where would you place Shore's Palace Upon the Ruins or Two Concerti? Lights Camera Music? Rozsa Orchestral Works Vol. 2?

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8 minutes ago, Spider-Fal said:

Just Curious, where would you place Shore's Palace Upon the Ruins or Two Concerti? Lights Camera Music? Rozsa Orchestral Works Vol. 2?

This isn't a perfect library science by any means but Lights Camera Music would go in the compilations section of my John Williams shelf in the order of when it was recorded/released

 

Since A Palace Upon the Ruins is a collection of concert pieces but also essentially an album for Shore, this one would be difficult. I don't own a physical copy so I don't have to truly worry about it, but if I knew the dates of when each piece was recorded and if they all centered around one general time in his career and if my collection of that time didn't have too many other physicals discs vying for its spot, then it would be a moot point with no conflict

 

In the case of the Rosza, I would either organize that recording in my classical section by recording date only, not separated by composer, if the works were all classical concert pieces or, depending on how many of them are film work or derived from film work, it could end up in the Rozsa section of my film score collection where it would go in his compilations section with any other compilations, were there any

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So I actually purchased a copy of Looney Tunes: Back in Action - The Deluxe Edition on compact disc digital audio from the Varese Sarabande webzone.

 

I've heard rumours throughout the years that composer Jerry Goldsmith (who scored Looney Tunes: Back in Action, directed by Joe Dante), created some very interesting material for this 2003 motion picture from Warner Bros., that was never heard on either the original Varese Sarabande album or the film starring Brendan Fraser and Jenna Elfman.

 

 

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All the classical and/or film score collectors here seem to prefer organizing by a date of some kind. That’s utter madness! I’d never be able to find anything that way unless I did a search.
 

No, my friends, the best way to organize a collection is by qualitative categories. Start by aggregating your albums by genre. Then, within each genre, you subset by composer, album artist, or even label. It can be quite fun to see your collection sorted into different “communities” that each share a particular likeness among its members—especially if you have a sizable collection.  

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10 hours ago, Bespin said:

Ouch!

 

At least, you dont saw how I classify my "baby" Goldsmith collection!

 

Note: On my shelves I respect the issue date of the original scores.


image.png
 

 

 

That you own Warlock but not Night Crossing is a gross injustice.

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Night Crossing and Warlock are both among my favorite Goldsmith scores, with the latter particularly underrated by many. I'd rather listen to either of them than more widely beloved scores like Supergirl, Air Force One, and Total Recall! (But I realize I am in the minority there.)

Yavar

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3 hours ago, The Big Man said:

It's no secret that every Goldsmith score is your favourite score. Even he would have thought Warlock was a bottlecap.


1. You don’t know how Jerry felt about Warlock.

2. Literally in the same sentence I expressed a lack of enthusiasm for the generally more liked Supergirl, Air Force One, and Total Recall (and those are just three examples). There are plenty of other Goldsmith scores which I’d consider far from favorites: King Solomon’s Mines does nothing for me. US Marshals does little for me outside of the theme in “The Pen” and a couple other cues. I don’t really like Ace Eli. The waltz in Boys from Brazil annoys me. I don’t think too highly of The River Wild or Wild Rovers because they are each chiefly based around a pre-existing folk tune and that just doesn’t do a lot for me. Some of the synths in Legend and the original Gremlins and even Under Fire I find extremely grating and detrimental. I think I will never like Extreme Prejudice. I’ll probably have to see the film to appreciate I.Q. outside of the finale piece.

 

So you’re both full of shit and being a total dick (again) besides. Have I expressed enough negativity towards Goldsmith for you now? I have to somehow disprove your premise that I’m just some blind tasteless fanboy who just thinks everything Goldsmith ever wrote was 10/10? Thanks for the usual great attitude and contribution to the discussion here. I’m sure you think you’re a great wit every time you make a comment like this and pat yourself on the back for your “zinger”, but all you do is manage to suck the joy out of the room if someone dares to have a more positive opinion about something than you. Here’s hoping this is just an Internet forum phenomenon and you’re less shitty in real life.

 

Yavar

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