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I almost bought a second hand copy of this on Amazon a few months ago- I'm glad I waited.
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I'm personally thrilled. I've had the MA! trailer cues for years, but not the demo (or have I had the demo for years and not the trailer cues?) I'm looking forward to some additional music not heard on the OST, like when the wild and driving cue for the US Military launching a rocket on the Martian spaceship, just before it sucks in the explosion (and the martians inhale it like helium). There are so many other moments that will hopefully be included here. And it's about time Elfman got his limited edition due! We're almost all out of Jerry's Bottle Caps!
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This is everything that appears to be missing from the LLL Mars Attacks! release: Newspapers (0:15) White House Walk (0:20) White House Discussion (1:16) The Landing (missing sections) (2:37) [full version is about 8:39, this version is 6:02] Barbara and Art (0:16) Martian Response (0:32) State Address (missing sections) (1:17) [full version is 4:20, this version is 3:03] Instructions (0:46) Martian Lounge (missing end) (0:40) [full version is 3:33, this version is 2:53] Paris Burning (1:00) The Big Launch (missing sections) (0:25) [full version is 3:07, this version is 2:42] Pursuit (missing sections) (0:49) [full version is 3:45, this version is 2:56] The War Room (missing sections) (0:41) [full version is 2:12, this version is 1:31] That's 9 minutes of music! 9 minutes of music that would have easily fit if the Tom Jones and Slim Whitman songs where removed!!! Ack! It's also slightly out of order; "Airfield Dilemma" is supposed to be between "Battle Transition" and "New World". I suppose it was kept where it is to preserve the crossfade out of "The War Room" that they added to the OST...
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That's 9 minutes of music! 9 minutes of music that would have easily fit if the Tom Jones and Slim Whitman songs where removed!!! Ack! It's likely that the agreement with Warner/Atlantic was that the songs would also be carried over.
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That's 9 minutes of music! 9 minutes of music that would have easily fit if the Tom Jones and Slim Whitman songs where removed!!! Ack! It's likely that the agreement with Warner/Atlantic was that the songs would also be carried over. That's it exactly. We had to use what was on the original and add in some extra music when allowed. And I would not have an album without those two song cues. They are vital components to the film. Positively essential! The bonus stuff is far more interesting than the few minutes we did not include. MV
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Posted: |
May 5, 2009 - 5:27 PM
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By: |
SchiffyM
(Member)
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In fact (and I don't mean to be rude, because I'm a fan of what you guys are doing generally), if you thought the extra 2 minutes of "The Landing" was filler, what do you call a demo of the MT? I don't know what they call it. But I call it a creative decision made by somebody trying to produce the best album they can. Look, it would clearly be a lot easier to simply toss the score chronologically onto a CD and never give it a second thought. (I'm not saying that's always easy, mind you.) But film scores more often than not have passages that exist solely for cinematic reasons, and not for musical ones. In the last ten years, it has become the fashion to simply load it all onto a CD and let us sort it out. But sometimes, an album producer actually thinks about how it will play on CD, not just how it already played in a movie. Will everybody agree with these decisions? Of course not, no matter what he decides to do. But I applaud those producers who are still willing to make choices.
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I do not understand why people here associate 'archival' with some kind of defects. Archival, as in 'worth archiving'. Not 'here's the audio track from the DVD'.
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I agree with you to an extent, but if you're going to release another incomplete album, we'll still have to hang on to the bootleg to have the rest of it. I'm all about these limited editions making total garbage of the previously "released" bootlegs, so it's a little annoying that one of the best tracks in the film is still the truncated version.
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It's likely that the agreement with Warner/Atlantic was that the songs would also be carried over. Ding ding ding! We have a winner!!
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In fact (and I don't mean to be rude, because I'm a fan of what you guys are doing generally), if you thought the extra 2 minutes of "The Landing" was filler, what do you call a demo of the MT? I don't know what they call it. But I call it a creative decision made by somebody trying to produce the best album they can. Look, it would clearly be a lot easier to simply toss the score chronologically onto a CD and never give it a second thought. (I'm not saying that's always easy, mind you.) But film scores more often than not have passages that exist solely for cinematic reasons, and not for musical ones. In the last ten years, it has become the fashion to simply load it all onto a CD and let us sort it out. But sometimes, an album producer actually thinks about how it will play on CD, not just how it already played in a movie. Will everybody agree with these decisions? Of course not, no matter what he decides to do. But I applaud those producers who are still willing to make choices. And here you have the crux of it all - for my money, it's all in how it plays, and if that means you upend the actual film order, then that's what you do. If there are five cues in a row that all sound the same, split them up and don't bore everyone to tears. I'm all for using film order WHEN it works as a listening experience. I just went through this very thing with our upcoming release - the original LP mixed the tracks up, edited cues together, and not, for me, in a satisfying way. For our release, I put it back in close to film order because there was so much variety that way it was a wonderful way to hear and appreciate the score. But we're also including the LP sequence for those who are used to that. For That Man From Rio, I tried to be true to the film order, but I had to really mix it up in the middle otherwise you would have had ten Brazilian music tracks in a row, and believe me, that's not something that's any fun and it robs the album of being a cohesive and dramatically satisfying album. So, sometimes film order works (although not with repetitious cues) and sometimes mixing it up works, and if the producer is good and knows his/her stuff, then it will be a good listening experience. I point to Two For The Seesaw, which was originally sequenced by its composer in an absolutely wonderful way - and not in exact film order, but in an order that makes total musical sense and, as I've stated many times, makes it an addictive listening experience - and I'll take that any day of the week. There are some great scores that have been ruined for me on CD because the sequencing is just the film order slapped onto a CD and it doesn't present the music in the best light. But it's different for every release.
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I'm personally thrilled. (...) And it's about time Elfman got his limited edition due! We're almost all out of Jerry's Bottle Caps! You're right sir, Mr Elfman's scores deserves Limited Editions too ! I hope that Mr Elfman and the studio (Castel Rock - does it still exist???) will authorise Lalaland or any label to release an expanded presentation of DOLORES CLAIBORNE, a true masterpiece ! In MUSIC FOR A DARKENED THEATER VOL.2 booklet, Mr Elfman himself wrote he composed 2 hours of music for this one... THAT's really promising.
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