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...
SLEEPING WITH THE ENEMY (EXPANDED)
...
FOREVER YOUNG EXPANDED ARCHIVAL COLLECTION
...
Expanded, expanded. OK. But complete or not complete? This is my problem.
I think MV had said he stopped using the term "complete" since the nitpickers always find something they feel is missing to stir up some stink. So now he just says "expanded"
That is correct. I'm sure they're both complete.
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Expanded, expanded. OK. But complete or not complete? This is my problem.
Oh hi Basil! Fancy here meeting with you today. LOL
That's the problem with changing screen names on this message board; It allows a new user to sign up with your old name 
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... MV had said he stopped using the term "complete" since the nitpickers always find something they feel is missing to stir up some stink ...
 Sorry but it does not make sense. How can I "feel" that something is missing when the score is objectively complete? Some example, please?
This all depends on the title.
For example if the score contains all the cues the composer recorded then TECHNICALLY it is complete but sometimes a composer, producer, director, or someone decides to use half of a cue and add it for another scene that it doesn't really belong to OR just the first half of that cue or even the end so should the score contain a repeat of a cue?
Or when the End Credits is really two existing cues added together without any significant change that the composer never created probably has no place in the release but some buyers will feel it does.
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I'll order both although the wife will throttle me!
So I figure if we're getting expanded Sleeping and Forever, then my fave Goldsmith score - in deed, fave score of all time, The Russia House (gorgeous film also) will receive an expanded treatment also.
Peeps and Goldsmith himself said the original album was too long, I say nay and thrice nay - there was even more perfection in the score on film and I'd love to get it all on disc - admittedly the best stuff is already on the original album. Plus I'm wearing my one out after playing it hundreds of times since 1990. It's the film that made me want to start playing saxophone.
On the subject of the lovely Alone In the World, with those achingly beautiful Bergman lyrics and fine Marsalis soprano solo, having lived with that version for so many years, although I love Streisand's rendition on What matters Most, I still love Patti Austin's vocal - what a pity it wasn't tracked in the film somewhere.
Back to Forever Young and I hope the alternate tracks include more takes of Joel Peskin's fabulous soprano sax rendition of the love theme!
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