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I'll stick to my CDr, thank you.

Heh, me too.

Dan--who's got the legit LP to this and Explorers; found them for $2 each at a redneck flea market not far from here

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Well, I'm not selling mine. It's not about the money. It's about ownership. :lurk: It's like with paintings. You can't say you have this or that painting unless you have the original one.

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Alex Cremers

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Well, I'm not selling mine. It's not about the money. It's about ownership.  :lurk: It's like with paintings. You can't say you have this or that painting unless you have the original one.  

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Alex Cremers

Not exactly the same thing... You have some 1000 copies of Space Camp to be owned for some happy Williams fans, while a painting is always unique. I know that, I'm a painter :ola:

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Very expensive indeed, but i'm sure ?-man or someone like him would be happy to spend so much money on 1 CD.  

I'm beginning to pick up the sarcasm

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Do you have a pressed SpaceCamp, Miguel?

In fact I don't... I do have the lp release. I've had the chance to get the cd a few times before, but always for too much. I'm happy with the cd-r and since I have the lp that is an oficial release, I'll wait that this is eventually rereleased, in order to get a pressed cd of this score.

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Wasn't there supposed to a re-release of this in the works some time ago?

Johnny - who enjoys his original pressed cd!

Johnny - who apologizes for bragging!

NP: Clash of the Lightsabers! Great stuff.

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Wasn't there supposed to a re-release of this in the works some time ago?

Johnny - who enjoys his original pressed cd!

Johnny - who apologizes for bragging!

NP: Clash of the Lightsabers! Great stuff.

Yes, that was anounced a couple of years ago, I believe, but never happened :)

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That really is a shame. I wonder why it never went through. I was hoping for extra music! :)

From what i remember, the rerelease was to be the original album, without any additional music. Still that would be better than nothing...

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I have an original copy.I know this has been discussed before,but still nobody dissected the movie to see how much unreleased music there i.I'm sure it's more than 10 minutes

K.M.

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Nonsence SpaceCamp is quite good and very much in the flavour of E.T.

All these are very nice cues:

Main Titles

The Shuttle

The Computer Room

In Orbit

White Sands

Viewing Daedulus

Re-Entry and Finale

SpaceCamp(End Credit)

the music is more mediocre for the scenes where the shuttle malfunctions.

K.M.

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I thought this was a great score. It would be hard for me to draw too much of a comparison to ET, if for no reason than ET was a more inspired movie that provided for a more ambitious and inspired score. But the score for Spacecamp was extremely effective at giving an adolescent, somewhat amateur space movie some heart and emotion. And I agree with a lot of the cues you listed, King Mark (its very hard for me to type that name without feeling subjugated).

Its been a long time since I saw the film but I don't remember there being very much unreleased music, maybe not even 10 minutes - and there definitely wasn't anything that stands out that is left out of the soundtrack from what I remember. The score is well represented.

- Adam

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No one's bidded for that album yet, it seems. Definitely not worth $200 for something that's used, for one thing. It's a nice score in Williams's filmography from the mid-80s, but that is just too much! I'm sure there'll be someone really, really desperate to own that. But not me. (Been enjoying my own legit copy of the CD since 1992, when it was the princely sum of $30. :() I have dozens of other things that are better spent on $200. Like insurance. :wave:

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I'm not comparing it directly to E.T.I just find in the early-mid eighties Williams developped his trademark heavily orchestrated fantasy style,starting with E.T.,with lush strings,horns,woodwinds...then he used it further in Spacecamp,Amazing Stories and Witches of Eastwick,Home Alone,Hook,and Harry Potter.A lot of cues from these scores are structurally similar and i group them apart from the Action style(SW,Indy,JP) and the serious drama style(Angela's Ashes,Stepmom,Tibet,Amistad,SPR...)

K.M.

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Who cares the score really isn't that good.

It confirmed that The River officially spelled the end of Williams winning streak that started with Star Wars and ended with Temple Of Doom.

Well- the movie sucked too.

But it anyway couldn't last forever.

Morlock- who think that those 7 years of Williams' are the best of any film composer ever. I don't think the same even remotely applies to Goldsmith.

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It confirmed that The River officially spelled the end of Williams winning streak that started with Star Wars and ended with Temple Of Doom.

and now he is in another winning streak since 1999.

K.M.

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We all know he had a little dip that started with Jurassic Park. Nobody hardly ever talks about Sleepers, Nixon, Saving Private Ryan, Amistad, Seven years in Tibet, etc.

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Alex Cremers

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What about Schindler's List? And I certainly can't say Jurassic Park's a bad score. It might not be up to par with Hook or Indy, but it's definitely one of my favorites.

- Marc

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What? Jurrasic Park and Schindler's List are among his very best and most popular scores! I don't understand how you could say that about Jurrasic Park.

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What about Schindler's List?  

- Marc

Schindler's List was his last great score before (t)his little dip took place and his semi-retirement began.

Of course, John is still super, when compared to others film composers . He still delivers. But sometimes I miss the younger Williams. The Williams before Jurassic Park. I know you sometimes miss him too.

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Alex Cremers

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Well, to tell you the truth, Jurassic Park is the one score that made me fall in love with Williams' music. It was this score that I hunted for for a year and a half, and the first Williams score I got. I was not around for E.T., the first SW trilogy and the Indy films, so I can only imagine what that must have been like. Williams was a master back then, but in my book, he definitely still is today.

- Marc

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But sometimes I miss the younger Williams. The Williams before Jurassic Park. I know you sometimes miss him too.

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Alex Cremers

Ah yes, the Williams before JP, the one who did Always, Stanley and Iris, Presumed Innocent and The Accidental Tourist.

Yes, that was really his top period, we talk about these scores all the time here :roll:

The best Williams period will always be his Jaws till TOD period, nearly all brilliant scores.

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But sometimes I miss the younger Williams. The Williams before Jurassic Park. I know you sometimes miss him too.

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Alex Cremers

Ah yes, the Williams before JP, the one who did Always, Stanley and Iris, Presumed Innocent and The Accidental Tourist.

Yes, that was really his top period, we talk about these scores all the time here :roll:

The best Williams period will always be his Jaws till TOD period, nearly all brilliant scores.

Maybe you don't like them because they lack the typical "Stefancos bombast" but Stanley and Iris and The Accidental tourist are very, very, very beautiful soundtracks. It's known that you only like full blast orchestral sound, so who are you to judge those amazing gems.

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Alex Cremers

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Ah yes, the Williams before JP, the one who did Always, Stanley and Iris, Presumed Innocent and The Accidental Tourist.

S&I had a cute harmless theme, and Presumed Innocent is a great score with a great theme.

And to counter that, he had Hook, Home Alone, EoTS, The Last Crusade and The Witches of Eastwick. We may not talk about all of them, but I think all are great.

The best Williams period will always be his Jaws till TOD period, nearly all brilliant scores.  

Yeah, 11 all around great scores- Jaws, Star Wars, CE3K, The Fury, Superman, Jaws 2, TESB, Raiders, E.T., RoTJ and ToD. 5 scores that basically amount to great themes- Midway, Black Sunday, Dracula, 1941 and Heartbeeps. And only two total duds- Monsignor and The Missouri Breaks. Yes, Giorgio doesn't really count- although the music for the theme is pretty good.

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Maybe you don't like them because they lack the typical "Stefancos bombast" but Stanley and Iris and The Accidental tourist are very' date=' very, very beautiful soundtracks. [/quote']

I love Schindlers List, and that has none of that usual Spielberg bombast.

I do not know The Accidental Tourist, but Stanley and Iris is a nice little score.

And Presumed Innocent is a brilliant dark score that is perfect for the film.

However this are not the kinda scores that get a lot of talk here, most people, me included became Williams fans because of the "Spielberg Bombast" type music that John writes.

It's known that you only like full blast orchestral sound, so who are you to judge those amazing gems.

It's known by whom?

I do not ONLY like full blast orchestral scores, i also happen to love smaller scale romantic or comedy scores and things like that, if they are well composed.

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Alex Cremers

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It's known that you only like full blast orchestral sound, so who are you to judge those amazing gems.

It's known by whom?

I do not ONLY like full blast orchestral scores, i also happen to love smaller scale romantic or comedy scores and things like that, if they are well composed.

Well- to tell, the truth, I can't remember you ever talking with passion about small scores. Generally you talk about LoTR, Conan, ST:TMP, Cutthroat Island, and a variety of Goldsmith, mostly the big stuff.

To clarify- I never thought of you as closed minded or against small scores, I just think it's easy to think that, based on the large majority of your posts.

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Most of us seem to talk more about the Harry Potters, the Indy's the Star Wars scores and Jurassic Park music then about Williams smaller efforts.

What you list there definatly belong to my fav list, but you do know that even "the big stuff" can have simpler, smaller cues on them, it's not just loud action music.

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And only two total duds- Monsignor and The Missouri Breaks.

I'm not fond of The Missouri Breaks but I've only heard it on the album. I don't know how it works in the film. The same could be said of Monsignor, which I also haven't seen, but the music to that is very good, and I think it easily fits into that "Golden Age" that ended with Temple of Doom.

Neil - who really should finish his reviesed LP transfer and clean up of Monsignor.

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So what's wrong with Space Camp,it's quite bombastic and fanfaric,and has nice themes.

Monsignor is quite good but except I can't stand the the "Main Title" theme

K.M.

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Speaking in general terms, I do think there tends to be a bias in favor of the type of films that JW was scoring during the late 70s and early 80s - and it helps that a lot of these films were really good.

I'm sure his technique and sound have evolved somewhat but not enough to represent some drop-off (or significant improvement for that matter) in ability. His basic approach to scoring seems remarkably consistent. The Reivers (1969), for example, was a rare opportunity for that time and he made the most of it. Its less polished than it would be today, probably. But all his trademark gifts are on display.

And how does Heartbeeps (1981) fit into this? That's maybe the best example of the role the film itself plays in affecting our perception of the composer's inspiration, effort, ability, etc. When I first heard the music, I was slightly disillusioned that it was JW. Only until I really paid attention to what the film was doing and what the music was doing, was I able to appreciate this score. But, otherwise, I would have came to the conclusion he underperformed big-time. Same could be said of a lot of flawed films like Spacecamp, Always, etc. Very few people would tend to associate Heartbeeps with JW's golden era, understandably, and yet very few people, I suspect, would be able to tell me how JW could have done a better job with this score.

- Adam, noticing I can't write short posts

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Oh I like Heartbeeps, too. The score that is. Never seen the movie. Now that I have a legit release of the music is there much need in seeing the film?

Neil

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So what's wrong with Space Camp,it's quite bombastic and fanfaric,and has nice themes.

Monsignor is quite good but except I can't stand the the "Main Title" theme

K.M.

From what I have heard of both scores, they are both quite good and are actually underappreciated by most film music fans.

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Well, I have a Monsignor CD (the one with The Missouri Breaks), but it's on my try out list. I still havn't really heard it all, except for a cursory examination. It sounded like the whole thing was the main theme, which i didn't like.

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Oh I like Heartbeeps, too.  The score that is.  Never seen the movie.  Now that I have a legit release of the music is there much need in seeing the film?

Neil

No, not really. Unless you're a bit of a nut like me and enjoy knowing how all of the themes work with the film, what all of the cues are doing in relationship to the movie, etc., etc., than you're probably better off not witnessing such a painfully bad film. The entire score is represented well on the soundtrack.

- Adam

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