A day afterwards, a week, a month? I can do that with the theme from Sheena even though I haven't seen the film since around '94 or '95.
Anybody can hum along with something as they're listening to it! What kind of fool test of hummability is that?
EDIT: I came out of Star Trek humming Giacchino's main theme, that made me buy the CD and I still hum it now, even though I haven't listened to the CD for about a month. THAT'S hummability. I'd argue that if the old scores that haven't sold out yet had themes like that, they would be long gone by now, including Logan's Run.
Yes. Yes indeed afterwards I can hum the love theme from LOGAN'S RUN and have since I first heard got the score in '96, on the old Bay Cities CD.
Yes. Yes indeed afterwards I can hum the love theme from LOGAN'S RUN and have since I first heard got the score in '96, on the old Bay Cities CD
Well good for you!
I can't and i've owned the FSM CD since it was first released. On the other hand I only acquired the FSM Twilight Zone CD a couple of months ago and i've been humming stuff from that like crazy.
So you remember the disco version of the love theme from 20 years ago but you don't remember the love theme specifically. Fair enough. I can understand why more people don't get into the Logan's Run FSM CD. I don't care for some of those bleeps and bloops myself, and I haven't listened to the whole album since I first listened to it. But the same goes with Prince Valiant, for different reasons. Sure, a few good cues does not a good listen make, except when I just listen to those good cues. Comancheros on the other hand is a terrific album. Of course I don't listen to the whole album, and I can't hum anything other than the main theme, but it's still a great listen and I highly recommend it.
As far as Sheena being mentioned, well... the cover for some was enough reason for the cd to sell out.
And speaking of humming good & memorable music... yes sure.
Try humming PLANET OF THE APES. A remarkable achievement in film scoring but hardly hummable and certainly VERY memorable!
Not all good music is necessarily hummable. That does not mean it's not good music or memorable music. The reverse is true as well.
And concerning this... order of music tracks fixation thing, as they appear in the film itself as some lame excuse not to like a specific soundtrack release because of it, well... play around with some buttons on the player and arrange the music tracks in any order you wish.
This is also true for expanded releases. If expanded releases are not to one's liking, play only the tracks you wanna play.
As far as the score telling a story and all that jazz... that is very subjective. It does help if one has seen the film.
Some scores work fine as solitary listening experiences and can be listened to very pleasantly with no reference to the film they came from. Some scores don't act this way. All this as stated, of course is again very subjective. Listening to score music is subjective and very personal. This by no way means that a score is a bad score because it cannot be a solitary listen. Sometimes viewing the film its score came from, does help understand and appreciate the score for what it is and also the composer's unique ingenious interpetation... well, if any. Have we forgotten what we are listening to? We are listening to music that has specifically been written for a specific movie scene. We are listening to score music. It has been specifically composed to magnify certain movie scenes and/or to evoke some emotion on the viewers part on an unconcsious or even sometimes conscious level. It is very similar to opera in some way. At least that is how I see it.
Score music is not exactly philosophy. Sometimes pseudointellectuallyanalyzing it too much (one word) takes away all the real intention and beauty it was composed and intended for. It is like analyzing riding a bike. Just ride the damn thing. It is like analyzing sex. Just do it!
It has been specifically composed to magnify certain movie scenes and/or to evoke some emotion on the viewers part on an unconcsious or even sometimes conscious level. It is very similar to opera in some way. At least that is how I see it.
Not really. The music of an opera is usually written in ADVANCE of an actual performance. The performance answers to the music's demands, so to speak, not the other way around like in film. That's a crucial difference.
Personally, I don't care if the music was originally written to accompany three thousand monkeys eating apple pie in a discotheque. I'm just looking for the ultimate album experience, and it's the record producer's responsibility to create that out of the film musical raw material.
And speaking of humming good & memorable music... yes sure.
Don't give me the rolling eyes. I find whether I can hum something a very good indicator of just how memorable something is. If I can't hum a theme or melody after watching a film, i'm not going to buy the soundtrack.
Filmscores were never designed to be listened to outside of their films. It's just a happy coincidence that so many of them do work in that manner. Complex scores like Planet of the Apes and Logan's Run work in their films but they just don't do anything for me as a separate listening experience.
I class complex scores as seperate from complex classical pieces. The classical pieces were designed to be played in concert from the beginning and often offer long 'tracks' that allow the music to develop and be fully appreciated. The relatively short tracks of film scores don't permit that. Therefore complex scores are harder to grasp for a lot of people.
Other Goldsmith scores, such as Wind and the Lion, ST:TMP, Poltergeist, Twilight Zone the Movie and The Mummy are packed with melodic themes that are easy on the ear and I listen to those regularly and can hum large chunks of all of them. My guess is they sell well too. I'd be surprised if there are any copies of FSM's Twilight Zone still unsold in 5 years time.
Wow, 200 Prince Valiant - 380 The Comancheros, after all these years. I would have thought they would have gone in a couple of months! I don't understand this market at all.
I find it quite easy to understand. Most score fans who have gotten into film music in the past 20-30 years have never heard of these films or scores and probably don't have tastes that run to the type of scores they are.
We're already a niche group, my guess is those scores appeal to a niche within the niche. Logan's Run is more recent but when I think of the film, I don't normally think of the score in the same way that I associate Star Wars with it's score, or Jaws etc.
True FSM is definitely a niche group and there is probably no correlation as to what sells out and what doesn't. I have to admit a score like Prince Valiant is a strange one to be remaindered though. I was a child of the 70s and was first introduced to the Valiant score thru the Charles Gerhardt RCA series of now classic albums which introduced me to Rozsa, Waxman and Steiner etc...since I would have missed the films in the movies...I admit that I had loved the score more than the film itself which I consider a bit corny for some reason...There are better period films in this genre (Ivanhoe) and a damn fine score also...
could you give us an update of the low quantities? Over the last couple of months I tried to get some of those I wanted from the list. There are actually two more I want to get before it is too late... Thanks, that would be awesome.
I'm surprised the Undefeated is in this list. Didn't Lukas mention once that this would probably never sell out. Ofcourse it has been many years since then.
Nothing new to report...SAE has had the stocks for several years now so I am not on top of it the way I used to be. If anything was low, they would put out word.
