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Geez, am I the only one that actually likes this artwork? Yes.
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Just what the doctor ordered, these humorous covers tickle my humerus Love the CD Club ... while I applaud Varese for expanding these releases it would be nice if they applied the same effort in the artwork department. I mean Pearce looks like he has dandruff.
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The main theme's overt similarity to ON THE WATERFRONT remains a distraction. . I agree. The score's overt similarities to ON THE WATERFRONT, not just in the Main Theme but in the Bloody Christmas cue, seem curiosuly un-Goldsmith-like to me -- more like something one would expect from James Horner.
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Geez, am I the only one that actually likes this artwork? Yes. Nope. Ok, so then you two are the only ones who actually like the artwork.
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For amusement sake:  That is very funny! LOL.
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Just listened to it. It's worth to get this expansion if you really like the score. The expanded re-release makes the score grittier, darker, with a bit more bite. As I observed to Tim Greiving when we recorded a Soundtrack Spotlight podcast earlier today, that's not only because of the new cues -- it's because some of the cues familiar from the old album are actually more stripped down and gritty than their album counterparts (which were probably Goldsmith's originals before he was requested to simplify them). Listen to the opening 40 seconds or so of Bloody Christmas for a great example. On the album there's interesting stuff Goldsmith is doing on brass and strings. But I guess it was too "busy" sounding for Curtis Hanson, because in the film itself (and in the 45.5 minute film version program on this release), the dominant element in the score for those 40 seconds is the sinister synth pulse. It leaves a very different impression, IMO, even if it's subtle. Yes, it's a different opening, the difference is clearly there. The album version of "Bloody Christmas" has a different overtone because of the brass and strings. It's definitely good the original album is included as well, it's a short score, though the two fit easily on one CD. Of course, I have the original album already anyway. (The "Bloody Christmas" from the original soundtrack album is the one I would keep if I could keep only one.) I don't consider L.A. CONFIDENTIAL an "essential" upgrade, as the core of the score was well represented on the album already, but it is certainly an interesting one. I will listen to both the film version and the original album version of this score from now on, sometimes this, sometimes that, as both play well.
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I always considered CITY HALL is a companion score to L.A. CONFIDENTIAL (like I somehow consider OUTLAND a companion score to ALIEN), they share a lot of the same DNA. (And CITY HALL was a good movie too, not a classic like L.A. CONFIDENTIAL, but nevertheless a good movie.)
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I always considered CITY HALL is a companion score to L.A. CONFIDENTIAL (like I somehow consider OUTLAND a companion score to ALIEN), they share a lot of the same DNA. (And CITY HALL was a good movie too, not a classic like L.A. CONFIDENTIAL, but nevertheless a good movie.) Hey, I was gonna make that point! Why didn't you wait for me? You coulda waited....
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Yes, L.A.C and CITY HALL certainly do share very similar musical DNA in the way ALIEN and OUTLAND do. The only problem for me being the latter two I mention above come from Goldsmith's Golden Period, while the former two...VERY MUCH DON'T. I agree both ALIEN and OUTLAND are musically much more interesting scores than L.A. CONFIDENTIAL or CITY HALL, though I certainly like the latter two scores a lot as well. There is very (very) little by Goldsmith I don't really like.
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I always considered CITY HALL is a companion score to L.A. CONFIDENTIAL (like I somehow consider OUTLAND a companion score to ALIEN), they share a lot of the same DNA. (And CITY HALL was a good movie too, not a classic like L.A. CONFIDENTIAL, but nevertheless a good movie.) Hey, I was gonna make that point! Why didn't you wait for me? You coulda waited.... Next time it's your turn.
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